Jaume
搜索"Jaume" ，找到 以下影视作品
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斯特瓦特·亨德尔
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卡希蒂（布蕾安娜·伊薇根 Briana Evigan 饰）!艾莉（卢默尔·威利斯 Rumer Willis 饰）!克莱尔（洁米·张 Jamie Chung 饰）!杰西卡（莉娅·派普斯 Leah Pipes 饰）!查格丝（Margo Harshman 饰）跟梅根（奥德丽娜·帕特里奇 Audrina Patridge 饰）是某所高校的六个密切无间的好姊妹,她们构成名为“西塔派”的姊妹联谊会,一同游玩,同进同退。在庆贺大四新学年的狂欢派对上,姊妹们合资戏耍了梅根的花心男友加勒特（Matt O'Leary 饰）,成果却招致梅根被加勒特有意中杀戮。为了掩饰罪恶,这五个女孩将挚友的遗体丢入废井,制作掉落的假象,并相约谨守这个机密。转瞬8个月从前,美女们行将迎来结业的时辰。梅根的惨剧让她们的心中渐生离析。与此同时,好像有一个奥秘之人正躲在暗处,乘机牟取她们的性命……
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保罗·齐勒
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当一群考古学家在巨石堆汗青留念碑四周挖出一具木乃伊时,一个躲藏在岩床下的太古呆板部件也被发明白。绝不知情的工人们偶尔间触发了一个构造,于是启动了连续串闭幕天下的变乱。WhenagroupofarchaeologistsdigupahumanskeletonnearthehistoricalmonumentofSTONEHENGE,anancientpieceofmachineryhiddenbeneaththebedrockisdiscovered.Notknowingwhatitcouldbetheworkersaccidentallytriggerthemechanismandstartachainofeventsthatmayverywellendtheworldasweknowit.
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保罗·齐勒
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当一群考古学家在巨石堆历史纪念碑附近挖出一具木乃伊时，一个潜藏在岩床下的远古机器部件也被发现了。毫不知情的工人们偶然间触发了一个机关，于是启动了一连串终结世界的事件。WhenagroupofarchaeologistsdigupahumanskeletonnearthehistoricalmonumentofSTONEHENGE,anancientpieceofmachineryhiddenbeneaththebedrockisdiscovered.Notknowingwhatitcouldbetheworkersaccidentallytriggerthemechanismandstartachainofeventsthatmayverywellendtheworldasweknowit.
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迭戈·哈尔维斯
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Afteragovernorissuesanexecutiveordertoarrestthechildrenofundocumentedimmigrants,thenewlydetainedyouthareofferedanopportunitytohavetheirchargesdroppedbyvolunteeringtoprovidecaretotheelderly.Onceinsidetheeldercarefacility,thevolunteersdiscoverthegovernorandthefacility’ssupervisorhavecookedupahorrifyinglydepravedconspiracytha...
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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.
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玛丽露·贝里
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Depuisdeuxans,Gilles(homme-parfait-non-fumeur-bon-cuisinier-quiaime-les-chats)etJoséphine(fille-attachiante-bordélique-mais-sympathique)s’aiment.Toutestparfait.Jusquàunenouvelleinattendue:ilsserontbientttrois.Nepasdevenircommesamère,gardersonmecetdeveniruneadulteresponsable,toutuntasdépreuvesqueJoséphinevadevoiraffronter,avecGill...
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FilmmakerandgayactivistSridharRangayanembarksonapersonaljourneytoexposethehumanrightsviolationsfacedbytheLGBTQcommunityinIndiaduetoadraconianlawSection377andhomophobicsocialmoresofapatriarchalsociety.ThegrittydocumentaryBREAKINGFREEfeaturessearingtestimoniesofgayandtransgenderpersonswhohavebeenvictimizedorexploited,aswellaswide-ranginginterviewswithadvocatesandactivists.See-sawingbetweendespairandjoy,anguishandhope,thefilmoffersaninsiderviewoftheIndianLGBTQcommunityandisadocumentationofitsmovementfrominvisibilitytoempowerment.
