Binding

EndingCut是指拥有入殓师技术的理发美容师，一边倾听遗属的声音，一边修剪故人的头发、染发等…。对于忙于匆忙的葬礼工作的遗属来说，约2小时的EndingCut，会产生与死者最后告别的时间。对于谁都无法避免的“重要之人的死”，剩下的家人能做些什么呢？主角迫田结（芦田爱菜饰）是住在海边小镇的高中3年级学生，父亲和俊（佐藤隆太饰）和母亲七海（广末凉子饰）是美容师，夫妇俩经营着一家小美容院，从小就喜欢画画的结，以升入美大为目标，在街上的画塾上学，临近推荐入学考试的结，虽然花了一个夏天画了一张画，但是被作为画塾讲师尊敬的那须薰（MAIKO饰）指出有什么不足。但最近和俊的样子很奇怪让结很担心，常把店交给七海，自己只做外出剪发的工作。有一天，结在去画塾的途中，看到了穿着丧服的和俊觉得可疑，就追在和俊后面，好不容易走到的地方是葬礼场，结追问了出...

AfastpaceddramaticthrillersetinlocationsthroughoutVictoria,Australia.Grady(MarcusGraham)anex-soldierwhoselifehasbeendisruptedandhisemotionsdisturbed,byhisexperiencesatwarandinprison,escapesfrompolicecustodyafterattendingtheburialofhismurderedbrother,Chris.Althoughfreeheis'ontherun'andisdrivenbyhisdesireforfreedomanda...

ENDANGEREDSPECIESisanintense,actionpackedsurvival-adventureaboutawealthyAmericanfamilywhotraveltothevastAfricanwildernessofKenyahopingforadreamvacationfilledwithexcitement,bondingandachancetofixthegrowingriftswithintheirfamily.Butwhentheirsafarivehicleisattackedbyarhinoprotectinghercalf,thefamilyisleftstrandedmilesfro...

Fictionalized story about the founding of the ill-fated Finnish mining company Talvivaara.

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

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

Afterapubliccontroversylefthimdisgracedanddemonetized,awashedupinternetpersonalitytriestowinbackhisfollowersbylive-streaminghimselfspendingonenightaloneinanabandonedhauntedhouse.

Aftertheirdrugsbustwentunexpectedlybadly,StokesandHendyarestillonroutinedetectiveduty,stakingoutthehouseofarichcouplewhohavebeenkidnapped.Elsewhere,criminalsSteveandNeddyareguardingthecoupleinNeddysbasement,awaitingfurtherinstructionsfromtheboss.Afterfindingexcrementinhernewboyfriendsboot,CarolisstillconcernedaboutLachysbehaviour

Wulan,asupermarketemployee,isabandonedbyherirresponsibleboyfriendafterfindingoutaboutherearlypregnancy.Wulanneedstotakeresponsibilityforherselfandherunbornchild.Wulan'sdesperationleadsherto“SupportPregnancy”onlinegroupthatclaimsasapro-lifevolunteer.ThegroupintroducesWulantothewealthySantosofamilywhowantedtoadoptherunborn...

In this very late 60's irreverent, almost anarchic low-budget film, Brian De Palma defines more of his strange, given Hitchcock-like fascination of voyeurism, and attacks the issues of the day. The most prominent of which, both cringe-inducing and just plain funny, is when he focuses on the black-power movement (a black woman handing out fliers asking white people 'do you know what it's like to be black'), which is something that could only work for that time and place, not before or now.　　But one of the key things to the interest in the film is 27 year old Robert De Niro (not his first or last film with the director), who plays this character who sits in a room looking out through his telescope at women in their rooms, setting up phony deals, and in the end basically throwing bombs. Those who have said that De Niro can't act and just is himself in every movie should see this movie, if only out of some minor curiosity. A couple of times in the film it's actually not funny, as when there's a disturbance in a black-power meeting (filmed in a grainer, rougher style than the rest of the film).　　In the end it's capped off with a rambling monologue in an interview that tops De Niro's in King of Comedy. It's pretty obvious where De Palma's career would go after this, into slightly more mainstream Hollywood territory, but all of his trademarks are here; the dark, almost nail-biting comedy, the perfectly timed style of voyeurism, and interesting usage of locals. Think if De Palma and De Niro did a Monty Python film, only even more low-budget and in its New York way just as off-the-hinges, and you got Hi, Mom! It also contains an eccentric and funny soundtrack.　　imdb comment