Saud
搜索"Saud" ，找到 以下影视作品
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黛博拉·艾里德
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布兰登·柯伊尔
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萨拉·奈尔斯
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赫米奥娜·诺里斯
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Emmanuel Imani
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内卡·奥科耶
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Adeyinka Akinrinade
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C·J·贝克福德
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奥拉·奥雷比伊
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莎芙蓉·霍金
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保罗·福尔曼
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Jumoke Fashola
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Olivia Bart Plange
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卓丹·邓
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休·夸希
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Craig Russell
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特雷弗·坎斯瓦兰
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格洛里亚·奥比安约
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维克多·雨果
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皮埃尔·伯格曼
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车·卡特赖特
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德尔罗伊·阿特金森
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朱迪·勒沃
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马赛厄斯·瑞姆普勒
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Julia Westcott-Hutton
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本剧和HBO《继承之战》有相似的基调。故事横跨纽约和伦敦两地，聚焦一个英国黑人家庭，以及这个家庭的野心，和他们面对不幸时的反应。白手起家的StephenRichards建立了一个美妆帝国，他总能如愿以偿、点石成金，就连抛弃第一任妻子和Nina、Simon两个孩子，对他来说也成了一件好事。Stephen与更年轻的第二任妻子Claudia安顿了下来，有了另外三个孩子：Alesha、Gus和Wanda，成年后的Nina和Simon则在纽约成功打拼出了自己的一番事业。但当Stephen经历了一场中风后，他的两个世界开始碰撞崩塌，秘密与谎言浮出水面，商业帝国的未来危在旦夕。
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Aclosetedgaywoman,Mercy(EmilyLape),meetsanattractive,sexualandlovingcollegestudentnamedJesse(AlisonHixon)thatchallengeshertoexploreherownbeliefsonsexualityandreligion.
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Agroupoftiredcommutershavecaughtthelasttrainhome,readytohopintotheirbedsforthenight.However,theirtrainsoonveersoff-courseandcrashesintoanabandonedtunnel.Thethreesurvivingcommuters;withdrawnmotherYiLing,hersonLucas,andstudentJanice,areforcedtobandtogetherandsurvivethenight,aswellasavoidthemysteriousmonsterhuntingthem...
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罗布·麦克尔亨尼
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Withthequarantinefinallyover,thenewseasonofMythicQuestfindseveryonebackintheoffice(well,almosteveryone),attemptingtobuilduponthesuccessofRavensBanquetbylaunchinganepicnewexpansion,butIan(RobMcElhenney)andthenewlypromotedco-creativedirector,Poppy(CharlotteNicdao),strugglewiththegame’sdirection.Meanwhile,C.W.(F.MurrayAbraham)reconcilessomeunresolvedissuesfromhispast,thetesters(AshlyBurchandImaniHakim)testtheboundsofanofficeromance,andDavid(DavidHornsby)losesyetanotherwomaninhislifeasJo(JessieEnnis)leaveshimtoassistBrad(DannyPudi).
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Whenaprivateeyetakesacasetofindamissinguniversitystudent,hemustexplorethedeepdarkdepthsofhisownmindtouncoverthetrutharoundhisownchildhooddisappearanceashetracksdownthemissinggirl.
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阮潘光平
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Linh, an art student, moves to a new house where she encounters a ghost. She helps him to uncover the mysterious cause of his death realizing what’s important in her life.
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Fernando Di Leo's Milano Calibro 9 is an out-and-out masterpiece of Italian Crime cinema and, in my opinion, one of the most astonishing crime stories ever told. The first film in Di Leo's excellent 'Milieu' trilogy, Milano Calibro 9 was followed by La Mala Ordina (aka. Manhunt, also 1972) and the brilliant Il Boss (1973). The three films are not connected story-wise, but all three are excellent, and highly realistic portrayals of organized crime. As far as I am concerned Manhunt is (allthough excellent) slightly inferior to this one and Il Boss which both stand out as absolute all-time highlights of crime cinema. Milano Calibro 9 is the best of them all, a film that is astonishing in all aspects, be it the ingenious plot that, apart from a compelling story and clever twists, includes social criticism, the performances, the gritty atmosphere and suspense or the brilliant score. I can hardly find the right words to express my admiration for this masterpiece which easily ranks among the greatest Gangster flicks ever brought to screen. Gastone Moschin stars as Ugo Piazza, a tough and elliptical ex-convict who has just been released from prison. Immediately after his release, Ugo is approached by members of the Milan mob lead by the irascible gangster Rocco (Mario Adorf), as they suspect him to be responsible for the disappearance of a large sum of money belonging to their boss, an American (Lionel Stander) who controls the organized crime in Milan... Milano Calibro 9 is a film that delivers an astonishingly realistic mood of the underworld like hardly another. The intriguing storyline goes in hand with interesting characters, raw atmosphere, suspense and breathtaking action, social criticism and brutal violence. The film is simply stunning from the beginning to the end, which is even intensified by the brilliant score, a collaboration of the famous composer Luis Enríquez Bacalov and the Italian Progressive Rock band Osanna. Ugo Piazza must be one of the most charismatic gangster characters ever in cinema, and Gastone Moschin was the prefect choice for the role. Moschin delivers a brilliant performance, and the rest of the cast is also great. Mario Adorf is irascible like a rabid dog as the ferocious gangster Rocco, a role that fits him like a glove. The great Lionel Stander fits perfectly in his role of the American Mafia Don. The two cop characters in the film are played by two of the greatest regulars of Italian genre-cinema, Luigi Pistilli and Frank Wolff (who committed suicide before the film was released). The ravishing Barbara Bouchet is astonishing and incredibly sexy in the role of Ugo Piazza's stripper girlfriend. Bouchet is both a stunning beauty and an excellent actress and this is doubtlessly one of her most memorable roles. This is also a political film and director Di Leo embedded a lot of social criticism about topics like corruption. This film simply has everything one can possibly desire in cinema. Films like Milano Calibro 9 are the reason why I love cinema. This is an absolute masterpiece in all regards and, without exaggeration, one of the greatest Crime flicks ever made! The ingenious opening scene alone is more memorable than most films get in two hours.
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In this very late 60's irreverent, almost anarchic low-budget film, Brian De Palma defines more of his strange, given Hitchcock-like fascination of voyeurism, and attacks the issues of the day. The most prominent of which, both cringe-inducing and just plain funny, is when he focuses on the black-power movement (a black woman handing out fliers asking white people 'do you know what it's like to be black'), which is something that could only work for that time and place, not before or now. But one of the key things to the interest in the film is 27 year old Robert De Niro (not his first or last film with the director), who plays this character who sits in a room looking out through his telescope at women in their rooms, setting up phony deals, and in the end basically throwing bombs. Those who have said that De Niro can't act and just is himself in every movie should see this movie, if only out of some minor curiosity. A couple of times in the film it's actually not funny, as when there's a disturbance in a black-power meeting (filmed in a grainer, rougher style than the rest of the film). In the end it's capped off with a rambling monologue in an interview that tops De Niro's in King of Comedy. It's pretty obvious where De Palma's career would go after this, into slightly more mainstream Hollywood territory, but all of his trademarks are here; the dark, almost nail-biting comedy, the perfectly timed style of voyeurism, and interesting usage of locals. Think if De Palma and De Niro did a Monty Python film, only even more low-budget and in its New York way just as off-the-hinges, and you got Hi, Mom! It also contains an eccentric and funny soundtrack. imdb comment
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Amid-agehipsterinStockholmisatrainingfreakandtrainsforthe90kmskiraceVasaloppet.Hissisteristheopposite,nojob,drinksbuthasadaughter.Suddenlysecretsrevealsandpromisesaremade.
