Masu
搜索"Masu" ，找到 以下影视作品
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维洛姆（Vilom）是一位来自印度的孤单,孤破的年青人,他陷溺于成为互联网着名流士,并对本人的性生涯深感迷惑。 当他与布满活气,公然的同性恋美发师阿迈（Amay）跟挣扎中的俏丽女星尼维（Nivi）住在一同时,他发明他们俩都逐步爱上了他。 这个忽然的三角恋带来了更多的凌乱,迫使维洛姆更深刻地审阅本人的性欲跟浪漫欲求。 同时,社会压力跟成见正开端在他们的家墙外树破。 维洛姆（Vilom）是孟买演员桑德·帕尔（Sunder Pal）的长篇小说首演,这是一部坚决不移的社会政治戏剧。 这部片子以融会性其余同性恋/直系情工资中央,报告了一个冒险,冒险,发明力,反叛跟生活的寻衅性故事。
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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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阿图·阿拉里
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1944.LeJaponestsurlepointdeperdrelaguerre.Unenouvellegénérationd’officiersderenseignementsestforméeafind’entraverl’avancedel’ennemiaveccommeconsignedenejamaisserendre.Parmicesjeunesgens,unhomme,sec,droitetdéterminé,estenvoyésuruneîledesPhilippines,sonnom:HirooOnoda.Ila22ans.Pourl’Empirelaguerredureraencoreuneannée,pourOnodaelles›achèveradixmillejoursplustard.
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在一个偏远的村庄里，住着一个天真善良的女孩儿Sai，有一天她发现自己继承了女鬼krasue的诅咒，一到晚上，她的头会与躯体分离并捕食村里的牲畜，村民见牲畜死状离奇，便猜测是女鬼krasue干的，村民打算杀掉Sai，深爱着Sai的Jerd和Noi决定帮助她战胜诅咒。
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LucycomplainsthatshedoesnthavenearlyenoughHollywoodsouvenirs,astatementwithwhichRickytakesissue.WhensheandEthelgototheGraumansChineseTheater,theynoticethatJohnWaynesfootprintsareloose,sotheyprythecementblockoutofthegroundandtakeitbacktothehotel.
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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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内详
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Olivia Sazon (Carmina Villarroel) is a mother who is desperate to find help for her terminally-ill daughter. As she takes on a demanding job at a call center in an old building in Manila, Olivia begins to experience a series of strange events that creep into her personal life. And when the events start to affect her daughter's behavior, Olivia is forced to uncover the mystery that lies within the call center walls...but what's waiting for her inside may be more sinister than she ever expected
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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
