Sharp
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In the bleak filmscape of glasnost, The Needle stood out as a black sheep of a movie. The most playful and offbeat of the Soviet films of the period, it contrasted sharply to the mainstream, which was overwhelmed with revisionism of the Stalinist past and nihilistic social criticism.
Made in 1988 by a young Kazakh director, Rashid Nugmanov, fresh out of VGIK (the national film school), The Needle was a pioneering effort in several ways. Having e from a remote, stagnant republic of Kazakhstan, the picture set off a movement that has e to be known as the "Kazakh New Wave." Represented by such works as Alexander Baranov's and Bakhyt Kilibayev's The Three (1988) and Woman of the Day (1990); Kilibayev's The Tick (1990); Baranov's He and She (1990); Abai Karpykov's Little Fish in Love (1989); and Serik Aprymov's The Last Stop (1989), the Kazakh New Wave was for the agonizing Soviet film of the late 1980s what the French New Wave was for the dusty French film of the late 1950s. The Needle was the movement's a bout de souffle. The film also became a model for the Russian version of postmodernism—uninhibited and uninformed, pensating for the lack of culture, skill, and resources with mischief and wit. A young man named Moro (played by Viktor Tsoi, the late rock 'n' roll legend from the St. Petersburg band "Kino") returns to his Asiatic hometown only to find his exgirlfriend, Dina (Marina Smirnova), being a drug addict and himself being involved in the bizarre life of the city's underworld. In an attempt to save Dina, Moro takes her away to the Aral Sea, turned into a barren desert by the time they arrive. There Dina seems cured, but back in town everything starts anew. Almost desperate, Moro decides to fight the drug dealers, led by a hospital doctor (played by another rock 'n' roll star, eccentric leader of the "Sound of Mu" band and the future star of Taxi Blues, Pyotr Mamonov), when one of them stabs him in a deserted park.
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宝拉·柯特莱西
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瓦莱里奥·马斯坦德雷亚
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巴巴克·卡里米
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安德里亚·萨托雷蒂
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保罗·卡拉布雷西
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卡罗·卢卡·德·鲁杰里
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路易萨·代·圣提斯
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法比奥·特拉韦尔萨
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克里斯蒂娜·佩莱格里诺
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Stefano
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Fresi
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Gianfelice
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Imparato
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Valerio
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Aprea
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Luca
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Amorosino
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Marco
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Matteo
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Donat-Cattin
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Lele
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Marchitelli
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Massimo
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De
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Lorenzo
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Daria
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Deflorian
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Arianna
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Dell
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Arti
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SaraandNicolaareexpectingtheirsecondson.ThroughthelateMattiaTorre’ssharplook,allthejoysandsorrowsofbeingaparentinthemoderndayItalyareunraveledinanabsolutelybrilliantandwittyway.
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巴里·莫罗
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"ALL YOU EVER WISHED FOR" is a fanciful tale of romance, comedy, and Italian charm. It begins in Milan with the abduction of a young American, the son of a wealthy businessman, and a ransom demand. But when the three bumbling mafia kidnappers and their hapless victim get lost in the mountains, they end up spending the night in an abandoned cottage that is under a gypsy spell. Upon awakening, each man falls instantly in love with the first soul to meet his gaze, which are, for the kidnappers: a homely spinster; a handsome woodsman; and one cute cow. The American, as luck would have it, is smitten by the sharp-tongued, raven-haired village beauty. Despite everyone's pure motives, things begin to unravel when the double-crossed mafia don and the victim's father arrive on scene to put an end to the madness. But they, too, fall victim to that gypsy love spell, and our tale comes to a fitting end with everyone getting what they wished for - or at least what they deserved.
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After the gruesome events on Caprini, Sharp and his elite team of tough, witty and trigger happy space Marines must now head out to the icy planet Mezzo to investigate further Ma'har activities. What they will encounter will defy their imaginations as t
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After the gruesome events on Caprini, Sharp and his elite team of tough, witty and trigger happy space Marines must now head out to the icy planet Mezzo to investigate further Ma'har activities. What they will encounter will defy their imaginations as they tackle giant man eating snow worms, an underground city of Cyborgs, a slew of murderous alien entities and maybe, finally, ...
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Depressing,darklovedramawiththinstoryline,thatmakesyouwonderwhetherthemakersbelieveinlifeatall.Themaleprotagonistisconstantlyrunningintoproblemsandgetsbeatenuptimeandtimeagain,somuchsothatafterawhileIcouldnothelplaughing,whichcannothavebeentheintentionofthemakers:theyarevèry,vèryserious.ThecruxofthefilmseemstobeasharpcommentonthemoneydrivenGermansociety,inwhichitisimpossibletoshowanyrealaffection;ofcoursethiscouldbeadilemmaofthemakersthemselves:moneyisnottheproblem,butwhatyoudowithit.Notforgottenistoincludeanextremerightwingmanwhoseself-proclaimedpurposeinlifeitistofreethestreetofsociallyundesirableelements.Itisallveryheavysymbolismwithnorelief,butitiscertainlywell-madewithascriptthat-asthefilmprogresses-becomeslessandlesssurprising.Thetwoactingleadsaregood;finecinematography.(janonderwater)
