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林诣彬
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重启剧「夏威夷神探MagnumP.I.」作风上相似「天堂法律者HawaiiFive-0」,配景同样设在夏威夷,不外配角们是私人侦察,老版在1980-1988年播出。新版由PeterLenkov及EricGuggenheim担任脚本﹑林诣彬执导,在这版本配角仍旧是四人帮,不外不像旧版都是男性,而是改为三男一女；剧谍报告ThomasMagnum（JayHernandez饰）是获授勋的前海豹突击队成员,从阿富汗返国后他把本人的军事技巧投放在当私人侦察上,而他的拍档包含前老兵Theodore“TC”Calvin及Orville“Rick”Wright,以及被除名的前MI6间谍JulietHiggins,他们一起考察种种奇异的案件。PerditaWeeks扮演JulietHiggins,是作家RobinMasters的夏威夷物业治理人,Thomas在剧中名义上为Robin当安保并住在他的客房。Juliet善于批示﹑自负﹑顽强,行动上爱吐糟。ZacharyKnighton扮演Rick,前水师陆战队舱门弓手（直升机枪击手）的他当初运营着欧胡岛最受欢送的夜总会；配角与他关联亲密,由于三名男主都曾在伊拉克成为战俘。而在夏威夷,Rick则是帮助配角找货色的最佳挑选。StephenHill扮演Theodore“TC”Calvin,前水师陆战队直升机机师,他运营着夏威夷最小但亦最优质的直升机导览公司「IslandHoppers」；因皆当过战俘的关联,TC成了Thomas最忠实的友人之一。
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罗杰·米歇尔
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In2022,QueenElizabethIIcelebratesher70yearsofreign;her“PlatinumJubilee”.Bringingtogetherincrediblearchives,thedirectoroftheromanticcomedyNottingHillhascreatedforthisoccasion–andjustbeforehisowndeath–anostalgic,playful,freshandmodernchronicleofthewomanwhohasspentthemosttimeasaHeadofState.
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本·博尔特
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WithElaineawaywithherboyfriend,Martinfindshimselfwithanewreceptionistintheformofhercousin,Paulinewhoarrivesunannounced.HeassistshisauntJoanbyexaminingherfriend,MurielSteele.Herson,DannySteelethinkssheisdisplayingearlysignsofdementiaandwantstoputherinahome.Martin’sinitialexaminationrevealshertobeperfectlynormalbuthemustre-evaluatehisdiagnosiswhenshebehavesoddly.MartinisalsoconcernedwhenlearnsthatDannySteeleandLouisawereoncequitecloseandthattheyareapparentlyseeingeachotheragain.Finally,hedealswiththecaseofEddieRixwhohasalonghistoryofinjuries.Hediagnosesanynumberofpossiblecausesbutthetruthprovestobesomethingcompletelyunexpected.
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托亚·弗莱瑟
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Afterhistribeisslaughteredthroughanactoftreachery,Hongi,aMaorichieftain'steenageson,mustavengehisfather'smurderinordertobringpeaceandhonortothesoulsofhislovedones.Vastlyoutnumberedbyabandofvillains,Hongi'sonlyhopeistopassthroughthefearedandforbiddenDeadLandsandforgeanuneasyalliancewiththemysteriousWarrior,aruthles...
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托亚·弗莱瑟
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After his tribe is slaughtered through an act of treachery, Hongi, a Maori chieftain's teenage son, must avenge his father's murder in order to bring peace and honor to the souls of his loved ones. Vastly outnumbered by a band of villains, Hongi's only hope is to pass through the feared and forbidden Dead Lands and forge an uneasy alliance with the mysterious Warrior, a ruthless fighter who has ruled the area for years.
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保罗·齐勒
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当一群考古学家在巨石堆汗青留念碑四周挖出一具木乃伊时,一个躲藏在岩床下的太古呆板部件也被发明白。绝不知情的工人们偶尔间触发了一个构造,于是启动了连续串闭幕天下的变乱。WhenagroupofarchaeologistsdigupahumanskeletonnearthehistoricalmonumentofSTONEHENGE,anancientpieceofmachineryhiddenbeneaththebedrockisdiscovered.Notknowingwhatitcouldbetheworkersaccidentallytriggerthemechanismandstartachainofeventsthatmayverywellendtheworldasweknowit.
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保罗·齐勒
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当一群考古学家在巨石堆历史纪念碑附近挖出一具木乃伊时，一个潜藏在岩床下的远古机器部件也被发现了。毫不知情的工人们偶然间触发了一个机关，于是启动了一连串终结世界的事件。WhenagroupofarchaeologistsdigupahumanskeletonnearthehistoricalmonumentofSTONEHENGE,anancientpieceofmachineryhiddenbeneaththebedrockisdiscovered.Notknowingwhatitcouldbetheworkersaccidentallytriggerthemechanismandstartachainofeventsthatmayverywellendtheworldasweknowit.
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AboutaweekaftertheWoodsfamilymoveintoXaosHouse,theirdaughterElliegoesmissingduringapowercut.Ellie'smotherKeirainvestigatesandfindsthatthewallshavestrangesymbolsengravedintothem.AfteranumberofterrifyingsupernaturalexperiencesshecomestotheconclusionthatthehousetookEllie.ShediscoversthataphysicistandoccultistcalledJohnF...
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"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his mand of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly being. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without ment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are mitted and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.
