0
8.0

玩命夏日

导演:
比利·布莱克,菲恩·伍法德
主演:
菲恩·伍法德,德德哈罗·伍恩-阿乙-太任,弗雷德·赫辛格,艾比·奎因,朱莉娅·拉隆德,比利·布莱克,马修·芬兰,苏珊·柯尼,丹尼尔·格拉维尔,萝斯芭德·贝克,克丽丝塔·娜赛尔,朱莉娅·多伊尔,帕尔迪斯·萨里米
别名:
未知
8.0
0人评分
英语
语言
2023-09-10
上映时间
未知
片长
简介:

  菲恩·伍法德和比利·布莱克(《当你拯救完世界》《超能敢死队》)将自编自导独立恐怖喜剧片《Hell of a Summer》,两人也联合弗莱德·赫钦格(《白莲花度假村》《恐惧街》)一起主演。该片由30West出品,剧情保密,赫钦格、杰森·贝特曼等制片,本月在加拿大安大略开拍。

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大洪水
8.0
上映时间:05月29日
主演:佩吉·香农,洛伊斯·威尔逊,西德尼·布莱克默
简介:

  A massive earthquake strikes the United States, which destroys the West Coast and unleashes a massive flood that threatens to destroy the East Coast as well.
  If you're wondering about this film and why it's dubbed in Italian, then read the following comment from IMDb:
  I have always wondered about the disappearance of "Deluge". Why for so many years, seemingly since it's release in 1933, this film vanished from the face of the earth. After seeing it, courtesy of the efforts of Mr. Wade Williams & Co., I'm still puzzled, but I have a theory. In 1933, "the code" was enacted that pretty much took care of sex and violence in Hollywood. While not an explicit film by any means, "Deluge" does deal fairly frankly with sexuality, lust and rape. I wonder if RKO discovered they had a film that they could not re-release, much like the fabled lost Warner Bros. comedy "Convention City". It's a shame for, while it is a dated film, I find it quite unique and surprising for it's era and a fairly successful attempt to create something different in an era when films were already becoming cookie cutter by-products of the studio machine (not that many of those cookies aren't tasty, mind you). And even though the only available copy at this writing is dubbed into Italian, I don't find that a hinderance. An excellent job was done in subtitling the film, and much of the film is visual anyway.

0
HD中字
大洪水
主演:佩吉·香农,洛伊斯·威尔逊,西德尼·布莱克默
0
3.0
爱情中的背叛
不安
3.0
上映时间:07月12日
主演:Jason Bernard,Raymond St. Jacques
简介:

  Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto "there's no place like home" is ironically updated to the adult circumstantial adage "there's no sex like marital sex". Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way: by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie: we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the "fairy godmother" who speaks the last words in the movie.

0
爱情中的背叛
不安
主演:Jason Bernard,Raymond St. Jacques