Peat
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InthemidstoftheimpassablelandscapeatthefootoftheAlps,ayounggroupofseriousoffendersisundergoinganexperientialeducationalprogramintendedtorehabilitatethem.Allofasudden,amemberoftheprogramdiesaviolentdeath.Nobodyknowsexactlywhathappened,andtheyouthsfaceadifficultdecision.Shouldtheywaitfortheauthoritiestorecoverthebodyandinvestigatethecrime?Or,escapeandtaketheirfateintotheirownhands?Thegroupdoesn’thavemuchincommonwitheachother,thoughonethingunitesthem;allofthemhavehadreallybadexperienceswiththeauthoritiesanddon‘texpecttobetreatedfairly.Sincetheydon’tknowwhotheperpetratoris,theyonlyhaveoneoption:torun.Upthemountains,upthehighestpeaksoftheAlps.Itseemshopelessuntiltheystumbleontoacomplexcavesystemwheretheycanfindshelterfromwind,weather,andtheirpursuers.Intheirfightagainsttheforcesofnature,theyformtheirownsociety,accordingtotheirownrules:theWildRepublic.
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马太·巴特勒
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Janeistrappedinanunknownworldwithendlesspossibilities.Shehastodiscoverawaytoaccessthemandalterherrealitybeforesheisdestinedtorepeatthesametestoverandoveragain,AdInfinitum.
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AmericanfilmcriticElvisMitchell’skaleidoscopicdocumentarycreatesadefinitivenarrativeoftheBlackrevolutionin1970scinema,fromgenrefilmstosocialrealism—aworkofpainstakingscholarshipthat’salsothoroughlyentertaining,anessentialarchivaldocumentandtestamenttoaperiodofAmericanfilmhistoryunlikelytoberepeated.
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Peat有个幸福的一家三口之家,可憎的女儿让她在交际平台上也小著名望。有天女儿不测走丢了,Peat到处贴寻人启事!上节目都不方法找到女儿的踪影。直到有天警员告知她,疑似找到了女儿的衣物,经由过程化验DNA也曝光了一个惊天的机密：女儿的DNA跟老公是不符的。这解释了什么,各人都心领神会。全部人包含老公都告知Peat停滞寻觅女儿,女儿曾经逝世了。Peat作为母亲的直觉不肯信任本人女儿曾经逝世了,为了寻觅女儿本人去触摸怎样用枪!雇了一个私人侦察考察,但是本相确当面却比本人设想的还要庞杂,也把他们带入了一个伤害的地步……
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57周前，居住在匹兹堡的急救人员艾尔维斯（斯科特·皮特 Scott Peat 饰）意外遭遇一个死而复生的尸体，地狱的大门似乎就此打开，恐怖的病毒迅速蔓延，所有被感染的人都变成没有任何生命体征却嗜血如命、狂暴凶残的丧尸，匹兹堡彻底沦为死城。艾尔维斯设法逃离去寻找此前离开自己的妻儿，在一无所获的情况下，他继续前行，途中遇见同样寻求避难的提特（玛丽莎·梅瑞尔 Marissa Merrill 饰）等人。然而这里终究不是长久的避难场所，他们必须想方设法从丧尸的包围中逃出，寻找新的栖息之地。 死神的身影从未远离，威胁不仅来自丧尸，还有来自早已对死亡司空见惯的人类……
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Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
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金景熙
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该剧是一部奇幻悬疑惊悚剧，改编自日本推理小说《Repeat》，讲述10位获得重返时光的人穿越到一年前，陷入意想不到的命运的故事。由《好运罗曼史》金京熙导演执导，李秀景编剧执笔，2020年3月首播。
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有4个不同极点的轨道是什么？四个不同的极点——Nick(Pon饰)、Wan(Mo饰)、Beam(Patricia饰)和wayu(God饰)——不断地相互环绕，在碰撞的火焰中反复碰撞和燃烧。然而，所有四面都是无情的，陶醉于仇恨和竞争的痛苦和快乐...或许，甚至爱情Justwhatisittobeanorbitwith4differentpoles?The4differentpoles—Nick(Pon),Wan(Mo),Beam(Patricia),andWayu(Godt)—continuouslycirclearoundeachother,repeatedlyclashingandburninginthefireofthecollision.However,...
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InTwoDistantStrangers,cartoonistCarterJamesrepeatedattemptstogethometohisdogarethwartedbyarecurringdeadlyencounterthatforceshimtore-livethesameawfuldayoverandoveragain.StarringJoeyBada$$,AndrewHowardandZariaSimone
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In a future medieval world, after the collapse of our civilization, man has repeated all the same mistakes again, and installed a new system of law based on false science and superstitious beliefs. Worst of all their deviances now, is anyone who dares to consume or even touch the sweet-tasting 'Chisa' flower. Once caught, they are permanently banished from the village, and made to live a life of solitude and poverty. Most prone to this deviance are children - known by elders as 'vessels for evil' - since their natural curiosity makes them prey to temptation. Yet these rejected children, left to their own devices, free and as wild as the wind, are discovering the true power of this plant and its teachings. Its sap contain what most adult fear: a vision of the truth. They have learned so much that some villagers even accuse these children of witchcraft.
