Eames

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防弹兄弟第二季
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Bulletproof follows two meijubar.net cops, Bishop and Pike, as they chase down hardened criminals in London's East End. On the surface Bishop and Pike have a lot in common they are cool, smart, unapologetically street-wise and tough; they share a deep, fraternal relationship - and are always there for each other. However, they come from very different backgrounds and their personal motivations and emotional lives outside the police force differ as a result: Pike is an aspirational family man, the son of a decorated police officer who's determined to follow in his father's footsteps, but not be in his shadow. Bishop grew up in care homes and on the streets, and never knew his father. Despite these differences Bishop and Pike are bonded by the same moral code and work brilliantly well together even when the chemistry between them looks set to explode.
我们的艺术
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Sparks fly when a dog walker with hidden artistic talent becomes the subject of an art history professor's plans to Impress her employers at an art exhibition.
全明星娇妻秀第五季
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SevenofthemosticonicRealHousewivesarewhoopingitupforagirls’triplikenootherthroughOrangeCounty,BeverlyHills,Atlanta,Miami,andNewYorkCity.ThewordonthestreetiseachstopwelcomesmorefamiliarfacesfromHousewiveshistorytojointhecelebration,revisitdefiningmoments,andstirupsurprises.
哥哥回来了
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Fatherwhoisoutofwork,motherwhoworksatthekitchenforconstructionworkersandthereisa14-year-oldgirl,Se-juwhotellsthestory.Whentheprodigalson,Se-ju’sbrothercomesbacktothefamilywithlive-ingirlfriend,thefamilyfacesanothercrisis.
水晶地狱
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 At the 20th floor of a skyscraper, a gas leak has started a fire. Anne and Ben Bronson, two teenage kids, are trapped in a fiery inferno 20 - storeys above the ground, while the fire is spreading throughout the entire building. From the 60th floor, their parents, Brianna and Tom, who were about to sign their divorce papers, will have to fight together to save their family from the flames. Even if Brianna is a brilliant structural engineer, will she find out a way to stop this uncontrolled fire ?
残酷的彼得
剧情:
1908年圣诞节是墨西拿(Messina),地中海最充裕的贩子都会之一。彼得(Peter)是一个富有的英国度庭的13岁儿子,因对儿童,植物跟佣人的残暴而如雷贯耳。一天晚上,他被伏击,并在该市哥特式公墓的地下棺材中醒来,被安葬以抨击一名佣人男孩从其母亲的房子中对他的残暴看待。当一场激烈的地动将墨西拿夷为平川时,彼得被困住了,他的着落被忘记了。直到一个世纪之后,一位英国考古学家跟他的女儿才达到这座都会。
嗨,妈妈!
剧情:
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
天使在美国第一部:千禧年降临
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上世纪八十年代中,美国处于列根的保守政权之下,正经历爱滋病危机。《天使在美国》正讲述在这种社会背景下,一群纽约客徘徊生与死、爱与性、天堂与地狱之间,挣扎求存、奋斗的故事。东尼.库什纳(TonyKushner)的《天使在美国》可谓近几十年来最重要的戏剧之一。此剧共分两部分,总长逾七小时,于1992年至1993年间在伦敦英国国家剧院首演,并赢得普立兹戏剧奖等多项大奖。该剧有趣又感人,尖锐又富有深刻洞见,以充满想象力的方法,探讨爱、痛苦、疾病、死亡、信仰、政治等主题,即使在25年后的今天,仍然发人深省。本次复排版的演员阵容鼎盛,荷里活及英国剧界的一线演员纷纷登场。饰演主角普莱尔的安德鲁加菲(AndrewGarfield)曾获奥斯卡最佳演员提名,代表作包括电影《蜘蛛侠:惊世现新》(TheAmazingSpider-Man)及《钢锯岭》(HacksawRidge)。其他主要演员包括主演BBC剧集《宝拉》(Paula)的丹妮斯高弗(DeniseGough),曾演出《星球大战:原力觉醒》(StarWars:TheForceAwakens)的占士麦卡德(JamesMcArdle),曾演出英国国家剧院《高校男生》(TheHistoryBoys)的罗素托维(RussellTovey),以及演出音乐剧《金牌监制》(TheProducers)和电影《假凤虚凰》(TheBirdcage)的尼芬连恩(NathanLane)。本剧导演玛丽安.艾略特(MarianneElliott)是奥利花奖及东尼奖双料得主。她为英国国家剧院导演的《深夜小狗神秘习题》(TheCuriousIncidentoftheDogintheNight-Time)及《雷霆战驹》(WarHorse)都大获成功。这次,她为我们谱写了一曲感人至深的人性赞歌。
魔虫禁区
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"TheOneHundred"tellsthestoryofayoungwomanwhohasjustreturnedfromaforeigncountry.Shehastostayatahoteltoquarantine,butthensuddenlycomesacrossamonsterthatcanchangeitsshapeinavarietyofways,accordingtotheindividualthatthismonsterpossesses.TheconceptofthestorywasinspiredbythestoryofBattambangwhichwastoldduringthereignofKingRamaV.
假期2018
剧情:
 Michael, a Danish gangster, takes his girlfriend, Sascha, and his extended criminal family on a luxury vacation in a fancy villa in gorgeous Bodrum, Turkey. Shopping, waterparks, barbecuing, and hardcore partying fill their days and nights. Having little regard for anything or anybody outside their world, they exist in a bubble of excess that is governed by Michael’s rules—and if the code is broken, they all know that violence will follow. But when Sascha befriends a Dutchman with romantic designs on her, she toys with Michael’s authority and creates a situation that cannot end well.  In a breakthrough performance, Victoria Carmen Sonne fully commits as Sascha, the complex young moll that eludes assumptions and expectations. First-time writer/director Isabella Eklöf has a dynamic visual touch and a flair for dark comedy and creates a destabilizing discord as she elaborately fills the frame with colorful, seductive images while telling a disturbing, graphic tale of brutality and power. Holiday provokes, challenges—and even implicates—the viewer in its unsettling reflection of our times.
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