龙石密码

简介：Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.　　To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.　　At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.　　Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.

简介：围绕震惊喀拉拉邦的两起重大犯罪以及随后 SOP 对案件的调查展开。

简介：在华盛顿呼风唤雨的政治说客斯隆女士，在美国枪击事件接连发生的情况下，不惜牺牲自己的职业生涯，以督促政府实施更严格的联邦法律规范枪支。

简介：单一色调的八个游泳队员在同样单一色调的学校泳池破浪。　　一对同母异父兄弟，大哥Zack是学校老大，他人脉广阔，在学校深受女生爱戴，不时发施号令，　要弟弟Darren代做化学家课；弟弟是典型电脑迷，时刻沉迷网络游戏及破解程式密码，弟弟不是一头乱发、佩带黑色大框架眼镜，以及衣衫不整以现代贬义称为的“宅男”，他是以兄长为校队游泳团队首领，成绩欠佳的游泳队员。爱接触阳光池水及精通电脑的男孩可谓文武兼备，他比不上哥哥的狡黠，　男人不坏，女人不爱，弟弟的木讷朴实不是女同学喜欢的类型，他遇见了倾心对象。　　Xandrie的幼滑金丝、纯真笑容打动了Darren，他在哥哥搞的狂热派对找不到金发蓝衣美人，发放短讯联系，短句是只有年青网络族群才懂的文字，他在房间的监视器遍寻不获，遇到了意图借着酒精毒品弄得迷迷糊糊在电脑男房间胡天胡帝的男女，Darren挂心不知所在的Xandrie恐怕被男人下了药带到隐匿地方施暴，他害怕Xandrie遭遇　同一手段，他赶走了他们，是潜意识对抗利用酒及违禁粉末壮大胆子，麻醉常理，做出一发不可收拾劣行的校友。　　单一色调的泳池竞赛选手不是八个，余下四个是校园欺凌的要角。

简介：二十年来，般奴和马力克生活在一个不同的世界当中，那是一个属于患自闭症的儿童和青少年的世界。他们二人分别管理The Hatch The Shelter两个非牟利机构，目标在贫困地区培训年青人担任守护工作，负责照顾一些被其他机构拒于门外的重度患者个案。这非传统的合作关系展现了非一般的人生。

简介：少年谢尔盖·克拉维诺夫（亚伦·泰勒-约翰逊 饰）的父亲（罗素·克劳 饰）崇尚“强者为王”，对后代施行野蛮残酷的狼性教育，而在一次狩猎之中，经历野生雄狮袭击的谢尔盖被父亲抛弃。他在濒死之际意外因为狮子血液而产生变异，成为拥有超常力量的猎人克莱文，从此踏上向父亲的复仇之路，而犀牛人的出现，似乎也预示了更大的阴谋。

简介：“江湖女骗子”白娜（章若楠 饰）与“小镇憨憨男”方耀东（吴昱翰 饰）在船上不打不相识，谁料冤家路窄白娜阴差阳错竟被当成方耀东媳妇，受到方家人的热情款待。而方耀东为了戳穿白娜谎言、赢回家人信任，与白娜斗智斗勇惹出笑料不断，家庭保卫战一触即发，“女骗子”与“男憨憨”高手过招会如何相爱相杀？

简介：在监狱服刑的5年期间，乔尼·科雷（Sterling Hayden 饰）想出一条绝妙的抢劫计划。出狱后，他集结一帮非法之徒，共同策划抢劫赛马场的两百万美元巨资，并且做到“无一人伤亡”。然而智者千虑，必有一失。乔尼天衣无缝的计划得以顺利实施，却被同伙乔治（Elisha Co ok Jr. 饰）的老婆谢莉（Marie Windsor 饰）打乱。她得知丈夫的计划后，联合情夫沃尔（Vince Edwards 饰）向巨款伸出贪婪之手……　　本片根据里昂努·怀特（Lionel White）的小说《Clean Break》改编的，库布里克担任编剧，并请来著名小说家吉姆·汤普森修改了对白部分。

简介：由于人类利益熏心的商业科研行为，导致引出了南极深海巨型章鱼对南极国际科考站的报复...

简介：A failed Broadway singer who now works as a production manager must save opening night on his new production by wrangling his eccentric cast and crew.

简介：教堂中，受洗的太保杜伯曼嚎啕大哭，太保父亲的友人送了一把枪枝 ，却被教堂外疯狂冲入的黑狗咬住，枪枝飞出掉落在婴儿车上，太保停主哭声，拿枪怏乐的把玩，这是一个枪枝与男人的故事……　　巷警察局长气炸了，这已经不是单纯的犯罪，太保(文生卡索饰)抢劫、挟持、杀人的犯罪纪录力简直可以出一张犯罪精选集，但每次的搜捕行动终究还是失败了。于是他们派出集腐败、狠毒、下贱、杀人不贬眼的克里斯汀尼警探出手，他是所有混混的葬礼负责人，一个带着警徽的撒旦，他对折磨有种病态的狂热，他说：野味总是要等到有点腐败的时候再享用才会美味，他像只狗嗅出太保犯罪的足迹循线追查。　　超现实的豪华派对在地狱般的酒吧进行，狂欢纵欲下隐藏着杀机，动员所有的人力、枪枝、火炮，然而，太保岂是这麽好搞定！狠毒的折磨、杀人和炮轰在酒吧中早已不足为奇，这是一场男人和男人的战争，火拼之中，早已没有好人与坏人的分野……　　　　本片由卢贝松极力推崇之法国新朝派导演──强酷男，本片乃他的第一部剧情长片。本片导演想打破传统道德的规范，让观众随剧情的挑□与暴力，感到好笑或恐惧；强觉得如果电影本身对观众没有情绪上的影响，观众还能边看边吃爆米花的话，那他就算是失败了。跟卢贝松的影像风格一样，但由于内容赤裸裸地表现出虚无、混乱、无秩序的反社会味道，在法国及日本等地上映时，都造成不小的争议！莫妮卡貝魯奇的太妹形象还真是出位，看惯了西西里的美丽佳人，乍一看吓了一跳。风格是彻底的反叛，说句开玩笑的话，要不人家叫強酷男哪，真是酷！

简介：瑾娘 Jirmiang　　出品单位南京汉禺影视制作 有限公司　　摄制单位南京汉禺影视制作 有限公司　　通过日期2010年5月19日 许可证号电审数字〔加1的 第103号　　声音制式51 幅别l1 78 片长84分钟　　编剧王跃影　　导演程东海　　摄影张荧　　主要演员葛石柱董凡马小宁　　主要内容 瑾娘靠小裁缝铺与女儿朵儿相依 度日。丈夫周正福爱上泼辣的曹娟，为 了离婚，周正福让流浪汉章天响接近瑾 娘。在章天响倾其所有只为治好朵儿的 耳聋后，瑾娘明白章天响已经开始进人 她封锁的内心。瑾娘默允离婚，而周正 福却因意外成为植物人，章天响苦劝瑾 娘跟他走，...