Batten
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Acharacter-drivengenrethriller,“Emergence”isaboutapolicechiefwhotakesinayoungchildshefindsnearthesiteofamysteriousaccidentwhohasnomemoryofwhathashappened.Theinvestigationdrawsherintoaconspiracylargerthansheeverimagined,andthechild’sidentityisatthecenterofitall.WrittenandexecutiveproducedbyMicheleFazekas&TaraButters,PaulMcGuigandirectsthepilotandisanexecutiveproducer.“Emergence”isproducedbyABCStudios.ABCStudiosisapartofDisneyTelevisionStudios,acollectionofstudioscomprisedof20thCenturyFoxTelevision,ABCStudiosandFox21TelevisionStudios.
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玛娅·鲁道夫
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亚当·斯科特
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MJ·罗德里格斯
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罗恩·芬奇斯
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奈特·法松
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乔尔·金·布斯特
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斯蒂芬妮·斯泰尔斯
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米根·费伊
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安妮·斯泰德曼
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奇普·齐纳里
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吉安·弗朗哥·托尔迪
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奥利维埃·马丁内斯
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维克托·沃尔夫
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洁基伯明翰
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Albert
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Malafronte
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Elizabeth
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Thieme
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Elizabeth
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Thieme
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Cheryl
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Francis
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Harrington
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Michael
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Vargas
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Ana
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Rey
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Kimberly
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Wallis
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Jamila
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Allen
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Alex
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Elin
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Goyc
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MayaRudolphisMollyNovak,abillionairereadytosavetheworld.LootpremieresJune24onAppleTV+.Afterdivorcingherhusbandof20years,MollyNovakmustfigureoutwhattodowithher$87billionsettlement.Shedecidestoreengagewithhercharitablefoundationandreconnectwiththerealworld—findingherselfalongtheway.InadditiontoRudolph,theLootensemblecastisledbystarsMichaelaJaéRodriguez(“Pose”),RonFunches(“Undateable”),NatFaxon(“Married”)andJoelKimBooster(“Sunnyside”).Lootiscreated,writtenandexecutiveproducedbyYangandHubbard.Rudolphexecutiveproduces,alongwithNatashaLyonneandDanielleRenfrewBehrens,throughtheirAnimalPictures.DaveBeckyof3Artsalsoservesasexecutiveproducer.LootisproducedforApplebyUniversalTelevision,adivisionofUniversalStudioGroup.
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Yitzhak runs the turkey farm his father built with his own two hands after they emigrated from Iran to Israel. When his son Moti turns thirteen, Yitzhak teaches him the trade, hoping that he will continue the proud family tradition. But Moti doesn't like working in the turkey barn; his passion is fixing up junkyard cars and bringing them back to life. Moti's mother Sarah tries to reconcile between the two, while his grandfather pushes Yitzhak to take a firm hand with his son. Yitzhak takes Moti's refusal to work in the turkey barn as a personal rejection. Though he loves his son dearly, he makes it his mission to impose the family farm on Moti. The arrival of Darius, the uncle from America, sets off a chain of events that will undermine the familial harmony. Soon enough Yitzhak will learn that his son is just as stubborn as he is. The conflict is inevitable. Written by Yuval Delshad
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萨姆·米勒
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Thegrippingtruestoryofayoungman’sjourneyfromherotoallegedwarcriminal,thedeterminedlawyeronhistail,andtheirsearchfortruthinthefogofwar.AnthonyBoyleplaysthereal-lifesoldierBrianWood,accusedofwarcrimesinIraqbythetenacioushumanrightslawyerPhilShiner,playedbyTobyJones.Thetwomengoheadtoheadinalegalandmoralconflictthattakesusfromthebattlefield-atso-calledCheckpointDannyBoy-tothecourtroom,andoneofBritain’sbiggesteverpublicinquiries,theAl-SweadyInquiry.Memory,evidenceandtraumacollide,asBrianfindshimselfcaughtonthefinelinebetweenwarandunlawfulkilling.AfterhisserviceinIraqandyearsoflegalinvestigation,willheeverbeabletolookhisfamilyintheeyeagainandbethehusband,father,andson,theyneedhimtobe?DannyBoyisanurgentandthought-provokingdramathatquestionswhatweaskofthosewhofight-andkill-fortheircountry.DannyBoyismadebyExpectationfortheBBC.ItiswrittenbyBafta-winnerRobertJonesanddirectedbySamMiller,andalsostarsAlexFerns,LeahMcNamara,PaulineTurner,KiranSoniaSawar,andTomVaughan-Lawlor.ExecutiveProducersareColinBarrandSusanHorthforExpectation,withLucyRicher,JoMcClellanandClareSilleryfortheBBC.
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比尔·杜克
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Having witnessed his junkie father killed Russell Stevens grows up to become a policeman and make a difference. When he is offered an undercover job by Gerald Carver he accepts and begins to build a relationship with David Jason in order to get to the main dealers. However as he is forced to deal drugs and kill to keep his cover he finds the lines between cop and criminal being lost – is he a cop pretending to be a dealer or a dealer pretending to be a cop Larry (as he was then) Fishburne's first lead role was a typically dark vehicle. The story is the usual one of cop losing himself when undercover, however it manages to be more than that for most of the time. Co-written by Tolkin, who wrote The Player, this naturally has a nice cynical edge to it when it looks at the US's hypocritical approach to drug control and the political links between the street hustlers and the political high rollers who court respectability. The story does eventually settle into a traditional setting but even then it works well as a thriller. The multi-talented Bill Duke directs well with a gritty feel and a few nice touches. However several things are a bit iffy. For most of the film Fishburne's narrationvoice over is a bit like a cross between Apocalypse Now and Blade Runner – it comes across as a little too dark and heavy and also explains things like we can't figure it out ourselves. However once you get into the film it's not as big a deal. My main problem lies with the characters. Fishburne is excellent, a real model of underlying anger and violence, Goldblum is good but perhaps a little OTT on the yuppieviolence thing, but there's good support from Smith and Spin City's beautiful (and often underused – but not here) Victoria Dillard. However the two main white characters (Goldblum and Smith) are both smeared with racist insinuations – Smith appears to insult his black officers and doesn't care about the junkies, while Goldblum is fascinated about all things black and talks about them as wild beautiful beasts and loves having sex with black'. These things aren't a major problem, but with basically only two white characters in it, it's a little worrying that both are given that edge. However these are minor complaints that get lost with a good thriller. Fishburne excels and Duke delivers a story that is a good thriller but also has a jaded, subversive edge.
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ppoy is a school kid with a creative mind who couldn't cope up with the formal system. All the while he got attention through his art. When he was forced to the edge of the system he begin to lose his identity. Later he is pushed into a loser category. At one point he begins to get attention when he started to perform outside of the system as a wild character. Because of the strong outer factor of the system and due to confused feelings he chose to remain as a wild character without knowing he is actually being a slave of the rottening system.…
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彦斯·阿尔比努斯
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西蒙·本尼杰格
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米凯尔·比克耶
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米克尔·福尔斯加德
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Svend
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Hardenberg
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莫滕·基尔斯果
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西瑟·巴比特·科努德森
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Lars
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Knutzon
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Angunnguaq
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Larsen
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索伦·莫灵
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拉斯·米克尔森
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马格努斯·米兰
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彼得·米金特
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Laura
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Allen
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Müller
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西涅·埃格霍尔姆·奥尔森
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Nivi
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Pedersen
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达伦·佩蒂
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厄兹勒姆·萨格拉马克
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BirgitteNyborg,herstaffandthemediataskedwithcoveringher,thistimeinherroleasMinisterforForeignAffairs.
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恩斯特·刘别谦
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Haunted by the memory of Walter Holderlin, a soldier he killed during World War I, French musician Paul Renard (Phillips Holmes) confesses to a priest (Frank Sheridan), who grants him absolution. Using the address on a letter he found on the dead man's body, Paul then travels to Germany to find his family. As anti-French sentiment continues to permeate Germany, Dr. Holderlin (Lionel Barrymore) initially refuses to welcome Paul into his home, but changes his mind when his son's fiancée Elsa identifies him as the man who has been leaving flowers on Walter's grave. Rather than reveal the real connection between them, Paul tells the Holderlin family he was a friend of their son, who attended the same musical conservatory he did. Although the hostile townspeople and local gossips disapprove, the Holderlins befriend Paul, who finds himself falling in love with Elsa (Nancy Carroll). When she shows Paul her former fiancé's bedroom, he becomes distraught and tells her the truth. She convinces him not to confess to Walter's parents, who have embraced him as their second son, and Paul agrees to forego easing his conscience and stays with his adopted family. Dr. Holderlin presents Walter's violin to Paul, who plays it while Elsa accompanies him on the piano. The film's original title, The Man I Killed, was changed to The Fifth Commandment to avoid giving wrong impressions in the minds of the public about the character of the story. It ultimately was released as Broken Lullaby.
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Diego had to leave his hometown in Brazil to attend a film school in California for 4 years. He also had to leave everything he had ever loved behind including Matheus, a handsome young man with whom he felt in love and shared passionate moments with. Ten years later, back in Brazil, he decides to make a film about their relationship. This biopic shows how passion can increase people's motivation in life, but also shows how making choices can be cruel for passion.
