备注: 类型:韩国剧剧情,言情
地区/年代:中国大陆/2024
主演:王千源,王景春,齐溪,张宥浩,王天辰,周政杰,阿如那,吴双
简介:犯罪不分大人小孩,都是坏人。 单身父亲李长峰(王千源 饰)在女儿被几名未成年人凌虐死亡后,绝望地踏上了复仇之路,他似乎想用自己的方式让少年恶魔们付出应有的代价。面对李长峰和警方的追踪,这群少年犯会得到何种惩罚? 影片根据东野圭吾同名小说改编。
备注: 类型:韩国剧剧情,言情
地区/年代:中国大陆/2024
主演:王千源,王景春,齐溪,张宥浩,王天辰,周政杰,阿如那,吴双
简介:犯罪不分大人小孩,都是坏人。单身父亲李长峰(王千源饰)在女儿被几名未成年人凌虐死亡后,绝望地踏上了复仇之路,他似乎想用自己的方式让少年恶魔们付出应有的代价。面对李长峰和警方的追踪,这群少年犯会得到何种惩罚?影片根据东野圭吾同名小说改编。
备注: 类型:韩国剧剧情,言情
地区/年代:日本/2024
主演:柊三太,春男児
简介:“一直…想和你接触”——王子×竞争者。 本应该争夺女主角的……不知为什么王子瞄准了我…!? 转生到小说世界的罗尼尔,本来是阻碍故事主角恋爱道路的“碍事角色”,很好地把握了自己的立场,为了不因妨碍而定罪,拼命地避开英雄王子埃里克……没想到王子竟然沉迷于罗尼尔!? “明明是新手,却很容易有感觉,多么可爱的身体啊……”在拒绝的时候,却被当成了欲拒还迎—— 诶……为什么和小说不一样呢!?
备注: 类型:韩国剧剧情,言情
地区/年代:中国大陆/2021
主演:侯京健,陈都灵,王志飞,张桐,余少群,唐国强,俞灏明,赵子琪,赵寰宇,姚安濂,范雷,林威
简介:影片以习近平总书记提出的“红船精神”为纲,结合党史权威及最新考证研究资料,以毛泽东的思想成长为叙事主线,采取“以人带史”的写作方式,从以毛泽东为代表的第一批中国共产党人的视角准确演绎、全方位呈现中国共产党诞生过程,回答“为中国人民谋幸福,为中华民族谋复兴”初心的正确性,彰显了“红船精神”的强大生命力,表明了中国共产党人的初心和使命。
备注: 类型:韩国剧剧情,言情
地区/年代:中国大陆/2024
主演:文生, 尹思淇,葛帅,庞勇,李沛泽,陆羽晴,李萍
简介:一个风雨交加的夜晚,走南闯北的唢呐匠,挑着扁担的卖货郎,阴沉诡异的仙婆,一身正气的警长,无恶不作的大盗,富甲一方的掌柜,风韵犹存的贵妇,沉默寡言的车夫,八个身份各异的人,齐聚在一座荒野外的破庙里避雨。长夜漫漫,闲来无事,不知是谁随口开了个头,众人聊起了附近镇子上,白沙桥下那个妇孺皆知的水鬼新娘的骇人传说。夜半,周围的气氛越发诡异,怪事频频发生,他们不得不相信,是她回来了。水鬼复仇,新娘索命,多年前的诅咒终于应验,破庙里的人一个接一个地离奇死去。原来,这些人里,或是贪财,或是好色,或是虚伪,或是怯懦,都与当年陈家那桩水鬼新娘灭门的惨案,有着千丝万缕的关系。
备注: 类型:韩国剧剧情,言情
地区/年代:中国大陆/2017
主演:杨天翔,张杰,刘校妤,张凯,乔诗语,魏超,图特哈蒙,边江,唐小喜,阎萌萌,邱秋,苏尚卿,徐佳琦,郭浩然,张丽敏,杨凝,李诗萌,宝木中阳,黎筱濛,刘琮,张磊,羽多野涉,阿澄佳奈,米泽圆,金元寿子,桐井大介,酒卷光宏,立花慎之介,今井麻美,井上麻里奈,内田真礼,佐佐木启夫,加隈亚衣,末柄里惠,牧口真幸,田中爱美,藤原夏海
简介:《狐妖小红娘》的故事围绕人与妖之间的爱情展开。根据古典小说记载,世上有人有妖,妖会与人相恋,妖寿命千万年,人的寿命有限,人死了,妖活着。人会投胎转世,但投胎以后,不记得上辈子的爱。妖如果痴情的话,就去找狐妖“购买”一项服务,让投胎转世的人,回忆起前世的爱。狐妖红娘这一个角色就这样诞生,作品主要讲述了以红娘为职业的狐妖在为前世恋人牵红线过程当中发生的一系列有趣、神秘的故事。
备注: 类型:韩国剧剧情,言情
地区/年代:英国/1964
主演:德克·博加德,汤姆·康特奈,莱奥·麦凯恩,巴里·福斯特,彼得·科普利,詹姆斯·维利尔斯,杰瑞米·斯宾塞,Barry Justice,Vivian Matalon,基思·巴克利 ,James Hunter,Larry Taylor
简介:ThelasttimeBritainwasamajorforceinworldcinemawasinthe1960s;adocumentaryofafewyearsbackonthesubjectwasentitled’HollywoodUK’.ThiswastheeraoftheKitchenSink,socialrealism,angryyoungmen;aboveall,thetheatrical.Andyet,ironically,thebestBritishfilmsofthedecadeweremadebytwoAmericans,RichardLesterandJosephLosey,wholargelystayedclearoftheperiod’smoretypicalsubjectmatter,which,likeallattemptsatgreaterrealism,nowseemscuriouslyarchaic.’KingandCountry’,though,seemstobetheLoseyfilmthattriestobelongtoitsera.Like’LookBackinAnger’and’ATasteofHoney’,itisbasedonaplay,andoftenseemscumbersomelytheatrical.Like’Lonelinessofthelongdistancerunner’,itsheroisanexploited,reluctantlytransgressiveworkingclassladplayedbyTomCourtenay.Like(theadmittedlybrilliant)’ChargeoftheLightBrigade’,itisahorrified,near-farcical(thoughhumourless)lookatthehorrorsofwar,mostparticularlyitsgapingclassinjustices.PrivateHampisayoungvolunteersoldieratPachendaele,havingservedthreeyearsatthefront,whoiscourt-martialledfordesertion.Increasinglyterrorisedbytheinhumanpointlessnessoftrenchwarfare,thespeedy,grisly,violentdeathsofhiscomradesandthemedieval,rat-infestedconditionsofhistrench,heclaimstohaveemergeddazedfromonegruesomeattackanddecidedtowalkhome,toEngland.HeisdefendedbythearchetypalBritishofficer,CaptainHargreaves,whoprofessesdisdainfortheman’scowardice,butmustdohisduty.Heattemptstospinadefenceonthegroundsofmadness,buttheupper-crustofficershavehearditallbefore.Thisisaverynice,dulyhorrifying,liberal-handwringing,middle-classplay.ItpanderstoalltheclichesoftheGreatWar-thedisgracefulworking-classmassacre,whiletheofficerssupwhiskey(Haig!)-figuredinsomecharminglyobvioussymbolism:Hargreavesthrowingadyingcigaretteinthemud;Hamphystericallyplayingblindman’sbuff.Thesetsarepicturesquelygrim,medieval,amoderninferno,asthesemenlietrappedinanever-ending,subterraneanlabyrinth,litbyhellishfires,withratsforcompanyandtheconstantsoundofshellsandgunfireremindingthemoftheoutsideworld.Theplay,inaverymiddle-classway,isnotreallyabouttheworkingclassatall-Hampismoreofasymbol,anessence,lyinginthedark,desolatelyplayinghisharmonica,anoteofhumanityinascoreofinhumanity.Hedoesn’tdevelopasacharacter.TheplayisreallyaboutHargreaves,hisrealisationoftheshabbyinadequacyofnotionslikeduty.Hedevelops.Thisrealisationsendshimtodrink(tastierthandying!).Likehisprolesubordinates,hefallsinthemud,justasHampissaidtohavedone;heevensaystohissuperior’Weareallmurderers’.Thisisallveryeffective,ifnotmuchofadevelopmentofRCSherriff’screaky’Journey’sEnd’,filmedbyJamesWhalein1930.Itsearnestnessandverbositymayseemalittlestiltedintheageof’PathsofGlory’and’Dr.Strangelove’;wemayfeelthat’Blackaddergoesforth’isatruerrepresentationoftheGreatWar.ButwhatIhavedescribedisnotthefilmLoseyhasmade.Heistoosophisticatedandcannyanintellectualforthat.ThefilmopenswithalingeringpanoveroneofthosemonumentalWarmemorialsyouseealloverBritain(andpresumablyEurope),asiftosayLoseyisgoingtoquestionthereceivedideasofthisstatue,thehumancost.Butwhathe’sreallyquestioningisthisplay,anditswoefulinadequacytorepresentthemanifoldcomplexitiesoftheWar.ThisisBrechtianfilmmakingatitsmostsubtle.Weareconstantlymadeawareoftheartificeofthefilm,thetheatrical-thestilteddialogueisspokenwithdeliberatestiffness;theatricalritualsareemphasised(theinitialinterrogation;thecourtscene,whereactorsliterallytreadtheboards,enunciatingthepredictablespeeches;themirror-playputonbythehystericalsoldiersandtherats;thereligiousceremony;thehorriblefarceoftheexecution).Prosceniumarchesaremadeprominent,audiencesobserveevents.Thisisaplaythatwouldseektocontain,humanise,explaintheGreatWar.Thisisahopelesstask,asLosey’sprovisionalapparatusexplains,’real’photographsofharrowingdetritusfadingfromthescreenasifeventhesearenotenoughtoconveytheWar,nevermindawell-made,bourgeoisplay.Losey’svisionmaybeapocalyptic-itquestionsthepossibilityofrepresentationatall-thevarioustagsofpoetryquotedmakenoimpactonhardmenmenwhorattledthemoffwhenyoung;theShakespeareandualityof’noble’dramacommentedonby’low’comedy,effectsnotranscendence,nogreaterinsight.Losey’scameraworkandcompositionrepeatedlybreaksourinvolvementwiththedrama,anywishwemighthaveformanlysentimentality;inoneremarkablesceneanofficertakesanAubreyBeardsleybookfromthecameraman!Thisideaofthetheatricalevidentlymirrorstherigidclass’roles’playedbythemaincharacters(Hamp’sfatherandgrandfatherwerecobblerstoo;presumablyHargreaves’werealwaysSandhurstcadets).Loseyalsotakesasideswipeatthekitchensinkproject,byusingitstools-historyhasbornehimout.
备注: 类型:韩国剧剧情,言情
地区/年代:中国大陆/2013
主演:吕聿来,何文超,王润泽,张羽,赵晓飞,Yong Hou,Tiejian Liu,Xinghong Li,Xiang Qun,Tong Liu,Feng Shijie,Wang Jiao,Jin Liao,Sun Si,Guohua Ma,Li Youliang,Zhangxian Kong
简介:《水印街》讲述了一段忧伤的爱情故事,一对年轻人从相识到相爱,被一场突如其来的误会打乱爱情步履,又在迷茫中重新审视彼此,重建信任。该片以独特的视角探讨了在一个高速发展的现代社会里人与人、人与社会的关系。
备注: 类型:韩国剧剧情,言情
地区/年代:美国/2022
主演:Adam Thorn,Robert Alleva
简介:TwoFearlessMenGettingStungandBitbytheMostDangerousAnimalsintheWorldtoCreatetheUltimateGuidetoMeasuringPain.
备注: 类型:韩国剧剧情,言情
地区/年代:大陆/2024
主演:薛江涛 王子彤 李炳雷
简介: