Gener
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剧情：
好莱坞早在1968年就拍摄了这一取材于法国作家皮埃尔.鲍李（Pierre Boulle）的有名同名科幻小说的片子,在事先,影片以其构想独特的情节!精妙*真的化妆技巧以及令人出其不料乃至颇感震动的终局而大受欢送,也催生了厥后的四部续集跟两部电视剧集的出生。 影片因素： 两千年后的地球,上校乔治.泰勒（Colonel George Taylor）,跟他的战友们,以佐斯博士（Dr. Zauis）为首的残酷的星球统治者,仁慈的同恋人类的猿族匹俦兹瑞跟考尼斯（Zira and Cornelius）跟他们的儿子凯撒（Caesar）,猿族,人类 影片材料： 「人猿星球」（Planet of the Apes） 1968年 乔治的飞船误入两千年后的地球并出事,在仁慈的猿族匹俦兹瑞跟考尼斯的赞助下,他逃出了猿族的缧绁,但猿族首级佐斯博士并没盘算放过他... 「沦陷猩球」（Beneath the Planet of the Apes） 1970年 前来搜索乔治的飞船再次出事在星球上,新参加的战友跟乔治联手去阻拦猿族对人类的屠杀。 「逃离猩球」（Escape from the Planet of the Apes） 1971年 赞助人类的猿族匹俦兹瑞跟考尼斯这回本身难保,他们的飞船坠毁在1973年的地球,人类发明白将来猿族将要统治人类,瑞兹肚里的小猿孩能存活吗！人们将怎样看待他们这对会谈话的猿族！ 「猩球驯服」（Conquest of the Planet of the Apes） 1972年 上会合猿族匹俦终极没能逃走人类辣手,但他们的孩子凯撒却在仁慈的马戏团主里卡多（Ricardo Montalban）的掩护下长大了,1983年,来自外太空的病毒使猫狗灭尽了,人类开端以会谈话的猩猩作为宠物,但他们的遭受却比猫狗惨得多,1991年,在凯撒的引导下,日益聪慧的猿族,即猩猩（Orangutans）!黑猩猩（Chimps）跟大猩猩们（Gorillas）结合起来对抗了,人类能弹压这场猿族的反动吗！ 「决斗猩球」（Battle for the Planet of the Apes） 1973年 2678年,猿族传授在报告凯撒昔时的故事,那是在2015年,猿族中产生兵变,大猩猩们在将军艾多（General Aldo）的率领下跟一群产生变异的人类一赞成图颠覆凯撒的引导,决斗开端了...
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主演：
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杰罗尔德·塔罗
剧情：
Set during the Philippine-American war, Heneral Luna follows the life of one of Philippine History's most brilliant military men, General Antonio Luna, as he tries to lead his countrymen against colonial masters new and old, and to rise above their own raging disputes to fulfill the promise of the Philippine Revolution.
剧情：
Isobeldecidestorentouthersparebedroominordertogeneratemuch-neededextraincomeafteramessyandpainfulbreakup.Withthehelpofherbestfriend,shenavigatesthemostemotionally,sexuallyandprofessionallycomplicatedtimeofherlife,whilehostingaconstantstreamofnewguests.
剧情：
"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.
