主演：哈迪·克鲁格 古斯塔夫·克努特 卡尔·斯康博克 佩尔·施密特
导演：乔纳森·莫斯托
类型：动作,科幻,恐怖 地区：泰国 年份：2015
简介：Bruce（詹(🗯)姆斯·麦卡沃伊 James McAvoy 饰）是一个苏格(gé )兰警察，有(🤮)一个美丽的妻子和一个可爱的女儿，他们婚姻幸福令人称羡。一个日本人在一(㊙)条隧道(📚)里被(bèi )人杀害，警(jǐng )局非常重(chóng )视这个案子，同时警局最近有一个升职(zhí )名额，Bruce和他的几个同事们都跃跃欲试。而Bruce深信通过他出色的办案能力(💐)再加上一些小手(shǒu )段，只(zhī )要他能破了这个案，他定能(néng )得到提拔。在调查谋杀案的过程中，Bruce又接手了另一个案件——调查到底是谁老是(shì )给他(🌋)的好友Bladesey的妻子打骚扰电话。在办(bàn )案的过(📽)程中，Bruce不断向观众展示(⚓)了一个出色的警察是如何利用邪恶的(💄)人性来达到他的目的的......哇，原来跑步还(hái )有(yǒu )那么(me )多讲究(🍈)。艾美丽惊叹道。该片根据沈恩京、罗文姬主演(yǎn )同名电影改编，观影人次突破(🍛)800万(🍫)。郑振永饰演男主角娱乐公司代表，和在第一次人(rén )生没有(💒)实现歌手梦想的郑知晓相遇童年时代的悲惨(🐔)记忆和成年之后的数次失败(bài )恋爱经历让(ràng )年纪轻轻的米兰（黄(🔘)圣(📡)依 饰）决定彻底封闭自己的(🚪)内心，她(tā )不仅(😅)拒所有人于千里之外，还开办了专门拆散紧(jǐn )密关系的“拆散公司”，凭借(👫)着自己的聪明才智(zhì )，成为了行业内首屈一指(🌐)的“拆散专家(🆗)”。That day is seared into the memory of every human being on the planet: the day the world changed. First came the attack on the Philippines. Within days they spread, as though appearing out of nowhere, striking out at more islands, forging a foothold in the South Pacific. Then came the first attack on U.S. soil - Los Angeles - and the reality became clear: our world was at war once again, but this time with an enemy from beyond our galaxy. Now, months later, the fate of the world hangs in the balance as a mission to strike at a key enemy installation deep in enemy territory goes terribly wrong, and the Marines of the 15th Expeditionary Unit are scattered across the island of New Britain, leaderless, and facing impossible odds. Pacific Theater is the story of those Marines: fresh recruits who journey from their homes across the Pacific to the front lines. It is the story of John Blake, a charming Californian surfer who must find the strength to become a leader, Tracey Gleeson, a physics...慕浅觉(jiào )得(🀄)这副任人摆布的姿势实(🕵)在是不(bú )太舒(🔻)服，忍不住挣扎(🏀)了两下。肖战穿着墨黑色的长款风衣，随着门(🕚)(mén )开(😣)，一股冷(🏠)风被带进来。吹的顾潇潇一个激灵(líng )。Louis XIV is no newcomer to Albert Serra’s filmography, the hero of his latest opus to date, The Death of Louis XIV (2016). This Sun King features a twin, even though, in the game of differences, it turns out that there are quite a few. Instead of Jean-Pierre Léaud, a non-professionnal actor whom Serra already worked with in his first films. Very different body weight, here in expansion, there in retention; a different way of putting his face in it: there, at the service of an astonished child’s gaze, here, singularly chubby, as if extending without any solution to all of his corpulence; here, the invention of sovereignty constantly reinvented, and there, the kingdom of innocence vaguely struck by idiocy. And the props: if the tale in the first version needed Versailles or an imitation of it, the second one reduces the palace to a luminous halo. True, this time we are stuck between bare walls, white-washed with pink coating (the color of twilight?) under neon lights at the ceiling. Here, for a long time, this king has been left to his own devices, moaning on the floor, with a stomach ache as severe as it is hilarious, with rare trinkets all around. Then we see spectators entering the field to see Her Majesty’s rants, his hair (as wigs were called then) and sumptuous clothes characteristic of that era, and spectators dressed in anorak. So what, then: capturing a performance? If the art gallery really frames the « action », what we find here is calculation, cutting up, montage; in short: a film, and no misunderstanding. And a film whose paths familiar to everyone Serra’s work point to: aristocracy in all its grandeur, its stupidity and its agony, the representation of power, the forces of art. Between the sublime and the grotesque, between derision and the derisive, between Buñuel and Dali, a royal figure engages in a quest for his death mask.A young married couple struggles to survive against a supernatural entity.