Simu
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特伦特·奥唐纳
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Setagainsttheworldofamajordrugcartelbust,theseriesfollowstwolow-levelcopswhohavespentfartoomuchtimeinacartogether;twocriminalswhoarelargelykeptinthedark;twodispatchworkerswhohaven'treallyclicked;andtwoMexicantunnelerswhoareinwaytoosmallaspaceconsideringthey'veonlyjustmet.
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Verymuchunlikehisstaff,anovereagerMichaelcantwaitforthisyearsannualDundiesawards.
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Everyone knows Sue, the majestic Tyrannosaurus Rex skeleton that is the pride of Chicago’s Field Museum of Natural History. Less known is the bizarre seven-year tale of intrigue, perfidy, double-dealing, and government intervention that resulted in the dinosaur-hunting discoverers, members of South Dakota’s Black Hills Institute, being divested of their find, cheated of recognition, and even sent to prison. Assembly of the gigantic fossil is something of a metaphor for filmmaker Miller’s meticulous reconstruction of a story that includes home movie footage of Sue’s discovery and recovery, her 1992 - kidnapping by heavily armed FBI agents, a rip-roaring courtroom drama as her ownership falls into dispute, and her eventual sale at auction for a heart-stopping sum.
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Using breakthrough flesh-regeneration technology, a biotech firm creates a set of living dinosaurs. But when the creatures escape their museum exhibit and terrorize Los Angeles, a former firefighter must rescue his teenage daughter from the chaos brought on by the Age of Dinosaurs.
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丽贝卡·亨特
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丽贝卡·亨特
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First-timefeaturefilmmakerRebeca“Beba”Hunttundertakesanunflinchingexplorationofherownidentityintheremarkablecoming-of-agedocumentary/cinematicmemoirBEBA.ReflectingonherchildhoodandadolescenceinNewYorkCityasthedaughterofaDominicanfatherandVenezuelanmother,Hunttinvestigatesthehistorical,societal,andgenerationaltraumashe’sinheritedandpondershowthoseancientwoundshaveshapedher,whilesimultaneouslyconsideringtheuniversaltruthsthatconnectusallashumans.ThroughoutBEBA,Hunttsearchesforawaytoforgeherowncreativepathamidalandscapeofintenseracialandpoliticalunrest.Poetic,powerfulandprofound,BEBAisacourageous,deeplyhumanself-portraitofanAfro-Latinaartisthungryforknowledgeandyearningforconnection.
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高政煜
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SomeonebrutallymurdersYoung-hoon’swife.Ahairsamplewasfoundonhiswife’sbodyandthedetectivesuseittotraceitbacktohisfriendJoon-sungandlockshimup.Seeminglybecomingamurder’swifeovernight,Da-yeonasksYoung-hoontotestifyonhisbehalfbutwhenhedoesn’tshowupforthetrial,shegoestovisithimathishouse.
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Thisdocumentarytellsthestoryofthe1999Londonbombingsthattargetedminoritycommunities,andtheracetofindthefar-rightextremistbehindthem.
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克里斯·史密斯
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An intimate celebration of George Michael and Andrew Ridgeley’s enduring friendship, from childhood and through their years together as one of the UK’s biggest bands. ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ?Michael and Ridgeley met at school in Bushy, near the town of Watford. They first formed the ska band The Executive before going on to release their first single as Wham!, Wham Rap! in June 1982. Success wasn’t immediate, but when it finally came, the pair crested a wave of success that continued until their farewell concert, The Final, at Wembley Stadium in June 1986. Chris Smith’s hugely entertaining film offers full and unprecedented access to the band’s archive, including unseen footage and interviews with the duo. The result is a nuanced portrait of an enduring friendship and a joyous musical travelogue.
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Deserves recognition as an interesting misunderstanding of the hallucination generation, 20 January 2007 Author TimothyFarrell from Worcester, MA Wild in the Streets comes from the same school of film making that spawned other attempts to connect to the counterculture such as Skidoo and Candy. The difference between this and the aforementioned films is that Wild in the Streets is reasonably clever and well-made. It isn't sympathetic to the counterculture and will likely offend those with fond memories of the time. Surprisingly, it was a big hit when released and appealed to the youth whom it ridiculed so much. Unlike The Trip and Psych-Out (two other AIP films), its not an accurate representation of the movement at all. However it does work as social satire. The direction by Barry Shear is good and makes innovative use of split screen photography. Plus, he keeps everything moving at a quick pace. In its funny moments, the film works well. In its attempts at drama, its helplessly dated and just as funny as the humorous moments. Christopher Jones underplays his role and Shelly Winters overacts. Hal Holbrook offers the best performance and Diane Varsi achieves the right note of grooviness. The script by Robert Thom has its moments, especially the ending (easily the most ingenious part of the film). Wild in the Streets isn't perfect, but deserves recognition as an interesting misunderstanding of the hallucination generation. Those into this kind of kitsch will enjoy it the most. I'd rather watch The Trip or Psych-Out however. (610) -from imdb
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Lazar
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Ederlezi Rising is an exciting science fiction romance set in near future about the pioneering space mission to Alpha Centauri undertaken by the multinational Ederlezi Corporation. Ederlezi recruits MIlutin a Slav cosmonaut trained in the newly reformed futuristic Soviet Union and accompanies him with Nimani, a female android programmed to fulfill whatever he desires.
