Jany
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Aftertakingcontrolofthecapital,NannysgangpreparesforthebiggestsmugglingactioninthehistoryofPoland.
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Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far. The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939). The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff. The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man. Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'. Roger Philip Mellor
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Following the crisis in Ukraine and Russia’s involvement in Syria, the world is closer to super power confrontation than at any time since the end of the Cold War. Now a committee of senior former British military and diplomatic figures comes together to war game a hypothetical ‘hot war’ in Eastern Europe, including the unthinkable - nuclear confrontation. The War Room faces a scenario that has haunted western strategists since civil war broke out in Ukraine potential Russian military involvement in the Baltic States of Latvia and Estonia. Like Ukraine these countries have sizable Russian speaking minorities, but unlike Ukraine they are members of NATO, whose founding treaty states that an attack on one ally is an attack on all of them. Because of this, western analysts regularly war game a situation where Russia seeks to exploit ethnic tensions in the Baltic and test the strength of the NATO Alliance.
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HBO的剧版《守望者》开始选角：雷吉娜·金(《美国重案》《守望尘世》)、唐·约翰逊(美剧版《迈阿密风云》)、蒂姆·布莱克·尼尔森(《逃狱三王》《无敌浩克》)、小路易斯·格赛特(《军官和绅士》)、阿德莱德·克莱蒙丝(《寂静岭2》《昭雪》)、安德鲁·霍华德(《血仇》)加盟。该剧主创DamonLindelof刚写了长信给粉丝预警：剧集将是基于原作漫画世界的新原创故事，结合当今时代，会有一些新角色。剧中，“超级英雄”们仍被世界看做法外之徒。Lindelof说的从这些角色也可知一二：这六名演员的角色尚未官宣，但外媒deadline透露：金饰演的是一个名为AngelaAbar的人物，小路易斯·格赛特饰演OldMan，霍华德饰演RedScare，克莱蒙丝饰演PirateJenny。有漫画已知的老角色，也有尚不知来头的新角色。
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Rik Boskamp, the son of a nerdy accountant, wants only one thing in life: not to be bullied anymore. Inspired by a mafia film, he comes up with a plan. He will make sure they move house and that his Dad becomes known in their new village as notorious mafia boss Paulo Boskampi. The plan works! Rikki Boskampi no longer gets bullied, everyone is afraid of Paulo and treats him with respect. Until a bully from the past turns up. How long will Rikki be able to keep up his lie?
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Devastatedbythelossofherfifteenyearoldson,Kevin,atthe1989FACupsemi-finalbetweenLiverpoolandNottinghamForest,AnneWilliamsfightsforthetruthaboutthetragedy.Standingalongsideotherparentswholostchildreninthematchandrefusingtobelievetheofficialinvestigationresults,Anneseeksherownevidenceinarelentlessquestforjustice.
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广濑贵士
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Constantlyonthehuntandsufferingfromhallucinationsthatdrivehisviolentnature,anunnamedmaniscapturingwomenandsavagelybeatingthemtodeath.Meanwhile,awomanisluringmenintoaviolentend,bywayofherknife.Drivenbythesameforcetomaketheoppositesexsuffer,thekillers’fatesintertwine.Thetwomustfaceoffinabattletothedeath,inwhichtheyareforcedtorevealthehorribletruthbehindtheiraddictiontomurder.“Brutal”takesaninterestingapproachtoitsvisuals,drawingheavyinfluencefromWestern“Grindhouse”films,usingafiltertomakethefootageappeargrainy,damaged,andwithlightandcolorfluctuations.Unfortunately,thevisualstylingendsupfeelingmisguided,asotherthanapplyingthefilteritdoesnotimitateanyotheraspectsofthe“Grindhouse”genre.Despitetryingtodirtyupthefilm,itisapparentitwasshotondigital.Thecinematographyisalsoastepabovemost“Grindhouse”productions,withTakashiHiroseprovinghehastalentbehindthecamera.Exteriorshotstothosetakingplaceinsmallspacesareallcompetentlyframed,lit,andtransitionwell.Thedecisiontoaddaneffectontopoftheworkhurtsthefilm’simageryandevengivesasenseofdesperationtotrytocaptureacertaintypeofnostalgiawiththeaudience,insteadofrelyingonitsownstrengths.Itisunfortunatewhenonecreativechoicecanhurtaproductionsomuch.Thestoryof“Brutal”issimplebuteffective,itdoesattemptsomesortofsocialcommentaryabouttheviolentnatureofmenandwomen,butitdoesnotofferenoughdepthintothesubjecttojustifytheamountofviolenceondisplay.Thefilmdoesendonastrongnotewithaninterestingtwist,witharevealthatisboundtogrosssomeout,whilegivingothersachuckle.Inspiteofitssimplenature,thosewhoenjoyfilmsthatmakethemsomewhatuncomfortableandenjoythechallengeofgettingthroughsomeultra-violence,“Brutal”posesafunandentertainingchallengeinthatregard.
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Showtime宣告制造「低俗怪谈 Penny Dreadful」精力续篇剧「低俗怪谈：天使之城 Penny Dreadful: City of Angels」,该剧由母剧的主创﹑编剧兼履行制片John Logan继承担任。 「低俗怪谈：天使之城」将分开维多利亚时期的伦 敦,改为以新脚色及新故事报告1938年的洛杉矶,这个时光外地融入了墨西哥裔美国人,而剧中会以实在汗青为佐料下描写各超天然脚色之间的摩擦及接洽。
