Farr、Nican
搜索"Farr、Nican" ，找到 以下影视作品
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AboutaweekaftertheWoodsfamilymoveintoXaosHouse,theirdaughterElliegoesmissingduringapowercut.Ellie'smotherKeirainvestigatesandfindsthatthewallshavestrangesymbolsengravedintothem.AfteranumberofterrifyingsupernaturalexperiencesshecomestotheconclusionthatthehousetookEllie.ShediscoversthataphysicistandoccultistcalledJohnF...
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迭戈·哈尔维斯
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Afteragovernorissuesanexecutiveordertoarrestthechildrenofundocumentedimmigrants,thenewlydetainedyouthareofferedanopportunitytohavetheirchargesdroppedbyvolunteeringtoprovidecaretotheelderly.Onceinsidetheeldercarefacility,thevolunteersdiscoverthegovernorandthefacility’ssupervisorhavecookedupahorrifyinglydepravedconspiracytha...
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《#星际之门#Stargate》剧集系列自《星际之门：宇宙StargateUniverse》被砍后一直停摆，不过MGM宣布他们将拍摄10集网剧《星际之门：起源StargateOrigins》，以CatherineLangford为主角。（今年亦是《星际之门SG-1StargateSG-1》的第20周年）《星际之门：起源》由MarkIlvedson和JustinMichaelTerry执笔﹑MercedesBryceMorgan执导，会以全新篇幅讲述CatherineLangford与星际之门之间的早期故事；年轻的Catherine在意料外的冒险中解开了星际之门的神秘面纱，并同时在黑暗力量手中拯救地球。
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警探雷•维尔克鲁（科林•法瑞尔 Colin Farrel 饰）在加州芬奇市任务,跌入人生谷底低沉多年,他仳离,酗酒,性格火暴。他是外地黑帮喽罗弗兰克•谢苗（文斯•沃恩 Vince Vaugh 饰)的部下,弗兰克多年前撤除了强奸雷老婆的男子。他为谢苗干一些零活, 好比殴打 了一个近来写了一系列构造犯法变乱的记者。维尔克鲁近来的活儿是找到掉落数日的市政履行官本•卡斯帕雷的着落。文图拉县警长安妮•贝德拉丝（瑞秋•麦克亚当斯 Rachel McAdams 饰）在任务上很胜利,却疏远了她从事色情主播的妹妹阿西娜以及她身为新宗教首脑的父亲。加州高速公巡警保罗•沃德拉夫（泰勒•克奇 Taylor Kitsch 饰）得悉他被停职处置,一个年青女人谎称他请求跟她性买卖能力放行。一天深夜,一女子被发明危坐在高速路边的长椅上曾经新奇逝世亡,三位来自差别都会跟差别当局机构警员会聚在一同联手侦察此案。在考察进程中,他们逐步发明案子远比他们假想的庞杂得多。
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格雷戈里·普罗金
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2013年的一天，瑞安（克里斯·J·穆雷 Chris J. Murray 饰）带着妻子艾米丽（布兰妮·肖 Brittany Shaw 饰）和年仅八岁但乖巧可爱的女儿莱拉（艾薇·乔治 Ivy George 饰）搬入了一栋大房子。适逢圣诞节将至，一节人喜气洋洋，快乐非凡。瑞安不知从哪还翻出一台老式的摄像机，他希望记录下家人每一个喜悦的瞬间，谁知从开机的第一天起便发现种种异常在房子内出现。夜幕降临，女儿逐渐表现出诡异的举止。与此同时，瑞安和哥哥迈克（丹·吉尔 Dan Gill 饰）还翻出了几卷这栋房子20年前的主人们拍摄的录影带，影像中的内容令他们呆若木鸡。 只有女儿和摄像机能够看到的“隐形者”，令瑞安一家的生活乱作一团……
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A Savage beast, grown to monstrous size and driven mad by toxic wastes that are poisoning the waters, spreads terror and death on a Maine countryside.
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"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his mand of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly being. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without ment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are mitted and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.
