主演：周凋 张奕 马黛娟 赵爱苹 王宇培 刘恩甲 戴剑秋 毕影 陶滋心 白崇武 徐聪 张敏 隋尹辅 白玫 马旭仪
导演：吉姆·维特
类型：谍战,恐怖,古装 地区：泰国 年份：2013
简介：冯光愣了下，目光带着怪异，但很快掩饰了，低声(🤑)回：五年了。During a police round-up, Mercedes witnesses the unjust murder of her son, a working-class man, by a police captain. Refusing to accept the official version of the story - that her son was a criminal - she launches a campaign for justice. Santiago, a young journalist moved by Mercedes's passion and determination, begins to investigate the story of the police cover-up at the risk of his own life. As the investigation develops, the film exposes the depth of Venezuela's corruption.冰雪女王弗雷亚（艾米莉(🏘)·布朗特 Emily Blunt 饰）本性温柔(🥝)善(🍬)良，却因为痛失爱(🐺)女的绝望而变得残暴和疯(fēng )狂，她(🚠)和邪恶的(👃)姐姐(jiě )瑞文娜（查理兹·塞隆 Charlize Theron 饰(shì )）(❎)一起建立了寒冷彻骨的冰雪王国，利用冷酷和(🍮)无情的规则维持她们的统治，更立下了不许相爱的(🎆)规矩，违(🎓)者(zhě )将要受到可怕的惩罚。Il est 5 heures du matin, à une terrasse de café, Léon s’assoit à la table d'Eva et lui demande un chocolat chaud. Il a 11 ans et ne connaît pas ses parents. Elle a 35 ans et pas d’enfant. Elle est libre, fantasque et mè(📠)ne une vie de privilégiée. Il est malin, sage et vit dans un foyer. Ils ne vont plus se quitter.林夙一手扶着她，另一手放在身后，朝慕浅做了个快走的动作。总之，那个(gè )女人吃苦受罪，就是让他心情大(dà )好的事！公元前221年秦始皇统一中国，车同轨，书(💐)同文，行同伦；“南取(📵)百越，北筑长城。”“胡(hú )人不敢南下而牧马，士不敢弯弓而报怨。”建立起了一(😩)套(tào )完备(🛡)的国家制度。但雄才大略的(🔂)秦(qín )始皇仅仅统治了十二(èr )年，在(zài )五(wǔ(🍜) )十岁时病死(❄)沙丘。公元前209年，在秦始皇去世一年后，陈胜、吴广在大泽乡起义，揭开(📊)了反抗秦朝统治的战(🍓)争，而起义的烈火又在极短的时(🏄)间内席卷全国。那么秦朝为何会在如此短的时(shí )间内就失去了人心呢？(🐝)本片是以前任(rèn )ICE情(qíng )报局探员(yuán )Matt Helm（迪恩·(🗳)马丁 Dean Martin 饰）为主角的系列电影第四(sì )集（总共有四集）。The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.