Eddie
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由《丑闻》女主KerryWashington以及《傲骨之战》“Adrian”DelroyLindo主演的八集电视剧《未坐监》（Unprisoned）定档3月10日于Hulu开播，届时全剧所有集数将一并上架。这是早前Disney专为少数族裔创作者提供平台的OnyxCollective企划的首部喜剧，届时Hulu和Star+将分别负责美本土/拉美范围的播出，Disney+则负责其它地区内的独家行销与推送。本剧的灵感来源于因为《广告狂人》获得编剧工会奖，参与了《火星生活》、《离家童盟》等剧的TracyMcMillan的真实生活；Kerry饰演“PaigeAlexander”，一名虽然生活有点糟但十分完美主义的家庭婚姻关系治疗师，日前她和自己十六岁的儿子“Finn”一起生活。但是当自己的父亲“Eddie”（Delroy饰演）出狱，和她与Fin...
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拉里·克拉克
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ThelastthingEddieMills(LarryClarke)wantstodoisgohometodealwithhisdyingDad(BrianDennehy).ButtheCatholicguiltgnawsathim,andhereturnshometohiscrazyfamily,anoverbearingstep-mother(LeslieAnnWarren),andhisbearofafather.Oncethere,Eddieisconfrontedwitharevelationthatforceshimtodealwiththepasthehasalwaysavoided.
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年轻外科医生肖恩·墨菲（弗莱迪·海默FreddieHighmore饰）患有自闭症和学者综合症，他在著名的圣文德医院持续发挥卓越的医疗天赋，与此同时也在生活中不断成长。
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PANIC BEATS begins with a totally nude woman with welts on her body, running through a misty forest full of decayed skeletons. A knight on horseback is chasing her, and we soon learn that he is Alaric de Marnac (a wicked character Naschy first created for HORROR RISES FROM THE TOMB), viciously killing her for her unfaithful ways. After the credits role, we are taken to the present where a descendent of Marnac named Paul (Naschy) is married to the wealthy Geneviève (Julia Saly) was has some serious heart problems. Paul decides to take her to his ancestral home in the country for some peace and quiet, but the superstitious-filled setting opens a Pandora’s Box of terrible occurrences. We soon discover that Paul is a real son-of-a-bitch who plans to scare his wife to death, planning to control her fortune and continue his secret affair with seductive bad girl Mireille (Silvia Miró), who happens to be the niece of the tarot card-reading housekeeper, Mabile (Lola Gaos). Paul’s malevolent scheme works, but he still has to worry about an additional money-hungry mistress (this guy really gets around!), the unforgiving Mabile, as well as new fianceé Mireille who might be hiding a thing or two herself. More grisly murders follow, and the ghost of Marnac returns from hell to punish the most despicable human character in the film. PANIC BEATS was also written by Naschy (under his real name Jacinto Molina) who injects the film with an old-fashioned spooky house motif, beefed up with a modern movie sense of violence and sexuality. The film offers nothing too innovative storywise, and even Naschy admits on the disc’s extras that it was partly inspired by GASLIGHT and REBECCA, but he seems to just toss in a hodgepodge of exploitation and horror ingredients, while delivering a stylish and enjoyable effort with a number of twists and some genuinely chilling moments. The camera shots and lighting are both effective, and there's even does a cool set-up (much like what Freddie Francis did in THE SKULL and THE CREEPING FLESH) where we see the point of view of Marnac through his dark helmet as he stalks his female prey. Graphically, we are exposed to everything from a plate of bloody eyeballs, to victims being beaten relentlessly with the various Medieval weapons affixed on the house’s walls (for example, someone is axed in the stomach, followed by the soaked entrails oozing out!). Naschy’s most frequent 1980s leading lady, Julia Saly, is not given much to do, but with her offbeat looks, is a nice presence nonetheless. The prominent female star here is Silvia Miró who is seen in the buff frequently, and she certainly makes for some well-appreciated Euro starlet eye candy. Naschy himself is very good in the film, putting on conniving facades, carrying a number of women on a string,
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Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
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焦躁、对抗、爱与痛，爆发在家人相逢中，或许，只有完成了对亲人的分离与接纳，对自己、对家人、对他人，一个人才能更自在的爱与被爱。
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在《神奇动物在那里》第一部的结尾，纽特·斯卡曼德（埃迪·雷德梅恩EddieRedmayne饰）协助美国魔法国会，将强大的黑巫师盖勒特·格林德沃（约翰尼·德普JohnnyDepp饰）抓捕归案。但格林德沃不久便兑现狂言成功越狱，并开始纠集信徒，着手实现他们的邪恶目的：让纯血统的巫师成为统治阶层，镇压一切非魔法生物。为挫败格林德沃的阴谋，阿不思·邓布利多（裘德·洛JudeLaw饰）向昔日的学生纽特·斯卡曼德寻求帮助。纽特欣然允诺，却没有意识到，他将踏上的会是一段充满艰险的未来征途。此时的魔法世界面临空前的分裂乱局，阶层鸿沟日益加深，爱与忠诚备受考验，至亲好友也可能反目成仇……
