Deb
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马科斯·西恩加
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《吸血鬼日记》由美国女作家L.J.史密斯的同名畅销系列小说改编而成。 恢复了嗜血本性的Stefan（保罗•韦斯利 Paul Wesley 饰）渐渐回忆起自己邪恶的一面。复活过来的Jeremy拥有了可以并和死人交谈的能力。Tyler和Caronline之间迸发出了爱情。Elena（妮娜•杜波夫 Nina Dobrev 饰）也发现了自己对Damen（伊恩•萨默海尔德 Ian Somerhalder 饰）不一样的感情。始祖家庭全部登场。先是Klaus让棺材中Rebekah复活，接着Katherine（妮娜•杜波夫 Nina Dobrev 饰）又释放了Klaus躲避了上千年的吸血鬼猎人Michael。被Klaus杀死母亲Esther也复活了，这一次她的真正目的是要杀死所有的子女。而因佩戴复活戒指死亡次数过多的Alaric出现了另一个杀人狂人格......
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世界末日，曾经繁华的大都会为嗜血丧失所占领。正前往印第安纳寻找妹妹的切斯（乔什·斯图沃特 Josh Stewart 饰）遭到丧尸围攻，同伴哈瑞斯（克里斯托弗·艾伦·尼尔森 Christopher Allen Nelson 饰）不幸遇难，危急时刻他得到了B.J.（丹尼尔·洛巴克 Daniel Roebuck 饰）的帮助。B.J.是某大型仓库管理员，手拿枪械的他轰杀了胆敢进犯的丧尸。这个一向屈居人下的男人仿佛在这场浩劫中扬眉吐气，他端坐在监视器前见证着丧尸的盛宴，宛若上帝的选民一般充满自豪和优越感。对切斯来说，此地俨然不是长久盘桓之地，更何况与这样一个不知是敌是友的危险男子为伴…… 本片为同名美剧的网络番外短剧。
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AnAmericaninstitutionreturnsFebruary20at11PMonIFC.HostedbyHelenMirrenandfeaturingperformancesfromFredArmisen,CateBlanchett,OwenWilson,ConnieChung,MichaelKeaton,JohnMulaney,TaranKillam,BobbyMoynihan,PaulaPell,&more.
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《内裤队长》讲述了两个早熟的四年级小学生——乔治·比尔德（GeorgeBeard）和哈罗德·哈钦斯（HaroldHutchins）利用催眠术把他们的讨厌校长本尼·克鲁普（BennyKrupp）先生变成了穿着内裤的超人——“内裤队长”！这个内裤超人对孩子们很友善，总是能帮他们摆脱各种麻烦，但一旦恢复清醒，就会忘了自己作为“内裤队长”所做过的事情。
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AregalmannamedVangelisthrustonajourneyagainsthiswillwhenheismysteriouslyarrestedandbeginstohavestrangevisionsofawomaninwhite.Armedwithanancientbookthathereceivesfromawisesage,hisadventurebegins.
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Astrugglingphotographergetsmorethanhebargainedfor,discoveringthetruthofwhathisnewcameraisreallycapableof.
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"Aleksei Gherman junior’s film The Last Train premiered in Moscow in mid December during the film festival Stalker, which also awarded it the prize for the best film. However, its first screening had already taken place in the ‘controcorrente’ competition of the Venice Film Festival in September. The film, dealing with theme of war and shot in black and white, remained unnoticed by the press in the context of the Venice Film Festival (preoccupied almost exclusively with Zviagintsev’s The Return), although it was awarded a prize. In Moscow, it made rather a different impression, especially when set in the context of films dealing with human rights issues.Gherman’s film is, in a sense, a response to his father’s war film 20 - Days without War. Maybe this explains the oddity of a young, clearly talented director venturing on his debut film into the trodden territories of the war film, a theme that dominated Russian cinema in general, but had also been dealt with by his father. For Gherman Junior, however, war knows neither winners nor losers: instead of exploring the history of WWII, Gherman looks at the fate of two men who have failed to make the right choice (or a choice) at the right time. Therefore, they are now the victims of circumstances, of politics, of regimes – which they have or have not elected. Gherman’s concern is with people in particular circumstances, which are not their choice, and how they cope with these unwanted situations.
