· 1967 · 英国 · 剧情片
Patricia,Healey,亚瑟·罗维,约翰·夏普,Julie,Perry,史蒂芬·摩尔,维克托·亨利,约翰·萨维登特,范妮·卡比,Malcolm,Taylor,Allan,O'Keefe,安东尼·霍普金斯,Jeanne,Watts,Eddie,King,巴瑞·埃文斯,Penny,Ryder,比尔·皮尔金顿,比尔·纳吉
An impassive young girl is taken from her suicidal London life, back to her home in North England on a bizarre bus trip. Seen through the poetic eye of the camera, this is a commentary of doomed British morbidity. In HD.
· 2012 · 泰国 · 剧情片
杰西达邦·福尔迪,Sakuntala,Thianphairot,Setthapong,Phiangphor,Jirapa,Wongkosawan,Theeratorn,Siriphunvaraporn
影片主要描述泰国的白领阶层，刻画他们多样的人生。有欢笑、有泪水、有压力、有追求。男主角由Tik杰西达邦饰演，是名叫Pun的公司市场部主管，生活和工作都一丝不苟，完美认真，绰号“精准先生”；女主角由Bow饰演，是名叫Whai的助理，因妈妈的裙带关系走后门成为Pun的助理，但对办公室工作不感兴趣，自由散漫，让Pun十分头疼。 公司在临近年关之际，接到韩国总部要求研发饮料新产品的紧急任务。Pun受命组建研发小组，为年终奖而奋力一搏。项目进行过程中，状况百出。男女主格格不入的性格和工作风格，属下们内部的纷纷绕绕，这些能保证项目按时完成吗？白领们工作只为金钱吗？实习生（Tao扮演）能成功转正实现乡下妈妈的期盼吗？拥有各自奋斗目标的白领们能一一实现愿望吗？
· 2016 · 美国 · 剧情片
罗伯特·甘特,Dan Gauthier,Dendrie Taylor
A veteran soap opera star retires to a beach house with her publicist and partner, but her Early Onset Alzheimer's will strain the couple's relationship until they find the strength to redefine themselves and what they mean to one another.
· 2015 · 美国 · 喜剧片
凯文·詹姆斯,莱妮·罗德里格兹,埃杜瓦多·维拉斯蒂吉,丹妮拉·阿隆索,尼尔·麦克唐纳,大卫·亨瑞,D.B.伍德塞德,尼古拉斯·特图罗,洛尼·洛芙,加里·瓦伦廷,安娜·盖斯泰尔,谢里·德赛,Steffiana,De,La,Cruz,阿德希尔·卡尔安,鲍勃·克莱德宁
在商场当了六年保安的保罗（凯文·詹姆斯 Kevin James 饰）攒够了假期，带着即将上大学的女儿玛雅（莱妮·罗德里格兹 Raini Rodriguez 饰），来到“赌城”拉斯维加斯的安可酒店，参加保安大会。 会议中途，保罗无意间发现了一个密谋抢劫拉斯维加斯所有赌场的黑帮团伙，于是，他继续跨着电动平衡车，与其他前来参加大会的保安们一起，和天才黑帮首领斗智斗勇，保卫赌城……
· 2009 · 美国 · 喜剧片
凯文·詹姆斯,基尔·奥唐纳,杰玛·梅斯,莱妮·罗德里格兹,雪莉·奈特,史蒂芬·兰纳兹,彼得·格雷蒂,鲍比·坎纳瓦尔,亚当·费拉拉,贾马尔·米克森,阿德希尔·卡尔安,艾瑞克·阿瓦利,加里·瓦伦廷,艾伦·卡瓦特,迈克·瓦利,Jason Ellis,Rick Thorne,娜塔莎·霍普金斯,杰姬·桑德勒,伯尼·麦克伦尼,Steffiana De La Cruz,泰勒·斯宾德尔,巴斯鲁藤,达希拉·萨勒姆,
商场保安保罗（凯文·詹姆斯 Kevin James 饰）的梦想是成为一名警察，但低血糖的体质让他在新泽西警察学校的考试中再次失败，保罗带着颓意返回家中，母亲和女儿给予安慰并劝说他再找一位爱人。保罗又开始了每天平淡的工作：指路或是被商场的孩子们捉弄，但今天，他的目光被假发柜台的艾米（杰玛·梅斯 Jayma Mays 饰）深深吸引，保罗希望在艾米面前彰显男儿本色，但无奈庞大的身躯和偏弱的体质总是令他的自尊受损。这天，一群匪徒占领了商场，计划对店面和银行进行暴劫，而躲在游戏厅中的保罗对这一切浑然不觉，当他赤手空拳面对劫匪时，剩下的只有逃跑，然而保罗意识到艾米被劫为人质时，他决定不顾一切返回商场……
· 2021 · 法国 · 剧情片
Claude,Mathieu,Anne,Kessler,埃里克·吉诺维斯,Florence,Viala,艾尔莎·勒普瓦夫尔,Julie,Sicard,Loïc,Corbery,Serge,Bagdassarian,Gilles,David,Stéphane,Varupenne,塞巴斯蒂安·普德鲁,罗兰·拉斐特,多米尼克·布隆,Yoann,Gasiorowski,米凯尔·佩利西尔,克里斯托夫·奥诺雷
2020年夏，巴黎结束了第一波疫情封城。剧团正在香榭大道的剧院里，排练从普鲁斯特的小说《盖尔芒特家那边》改编的新戏。不料演出取消的传闻甚嚣尘上，是否继续排戏，意见众说纷纭。有人顾忌无法保持社交距离，有人担心撞期下一档戏，有人因演出取消而松了一口气。在导演要排戏的坚持下，演员们半信半疑重拾戏服。没了演出压力后，他们反而觉得自在，不分昼夜自主排练。戏里的台词、表情、走位练习，无意间与演员戏外的生活融为一体。普鲁斯特追忆的往事似乎与各种被疫情扰乱的心情遥相呼应。焦虑与恐惧、孤独与渴望悄然在镜头与对白里成形，难以分说那究竟是戏里似水的年华，还是戏外因防疫逝去的时光。无论演出取消与否，所有人决定用尽全力享受相聚排戏的欢乐。
· 1919 · 美国 · 剧情片
萨姆·德·格拉斯,Francelia,Billington,埃里克·冯·施特罗海姆,Fay,Holderness,Richard,Cumming
Two differences between this Austrian version and the generally available American version are immediately obvious they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the original version The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel. (Koszarski) From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to speed up the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shotscountershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.