Ailee
搜索"Ailee" ，找到 以下影视作品
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霍华德·齐耶夫
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因为有着一个开殡仪馆的父亲加上母亲的早逝，女孩维达（安娜·克鲁姆斯基 Anna Chlumsky 饰）对生离死别有着自己深刻而另类的见解，同时，对于死亡的恐惧也无时不刻的纠缠着维达。在维达的身边， 男孩托马斯（麦考利·卡尔金 Macaulay Culkin 饰）将她的喜怒哀乐全部看在眼里，个性内向的托马斯唯一能够做的事情，就是温柔的陪伴在女孩身边。 雪莉（杰米·李·柯蒂斯 Jamie Lee Curtis 饰）的出现让维达有了强烈的危机感，她感到这个女人很可能将要分享父亲对她的独一无二的关注和爱。一次维达造成的意外中，托马斯死去了，看着心爱的人又一次永远的离开了自己，维达痛不欲生，而来自父亲和继母的安慰与教导终于让她明白了要如何珍惜生命里真正重要的东西。
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莱利·斯特恩斯
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Bleecker Street购得莱利·斯特恩斯执导的玄色笑剧新片「自卫艺术」 的寰球刊行权,杰西·艾森伯格!伊莫珍·波茨!亚历桑德罗·尼沃拉主演,艾森伯格扮演一个在街上莫名遭受袭击的走运孩子,后参加柔道练习黉舍随着极有魅力又布满奥秘的徒弟(尼沃拉饰)进修自卫防备术,揭开了布满兄弟会情义!暴力!超女子主义的罪恶天下的面纱,波茨表演的女配角正尽力斗争想获得一席位置。该片已于周一在肯塔基开拍。
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Afterbeingphotographedbychanceonthewaytoworkoneday,SuziebecomesthecovermodelofSibylle,arenownedfashionmagazine,oftenreferredtoasthe“VogueoftheEast”.AsshedelvesintotheundergroundsceneofEastBerlin,shefallsinlovewithCoyote,aphotographerwhourgeshertofleewithhimtotheWest.YetthedecisionturnsouttobeatoughoneforSuzi...
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米切尔·莱森
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Just before Christmas, Lee Leander is caught shoplifting. It is her third offense. She is prosecuted by John Sargent. He postpones the trial because it is hard to get a conviction at Christmas time. But he feels sorry for her and arranges for her bail, and ends up taking her home to his mother for Christmas. Surrounded by a loving family (in stark contrast to Lee's own family background) they fall in love. This creates a new problem: how do they handle the upcoming trial?
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Catherine在一个抽干的蓄水池里发现了一名黑帮谋杀受害者的遗体，这触发了一系列的连锁事件，不知不觉间将她直接引向了TommyLeeRoyce。Catherine的外孙Ryan现在16岁了，仍与她住在一起，但他对于想跟外祖母拒绝承认是他父亲的那个人建立何种关系，有着自己的想法。仍在与镇上似乎永无止境的毒品问题以及供应者作斗争，Catherine也即将迎来退休。
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丹尼·德维托
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状师加维（丹尼·迪维图 Danny DeVito 饰）在本人的OL里,正在向一位想要仳离的年青人报告一段“玫瑰大战”的故事：奥利佛（迈克尔·道格拉斯 Michael Douglas 饰）与太太芭芭拉（凯瑟琳·特纳 Kathleen Turner 饰）了解于一场拍卖会,然后两人很快完婚生子。身为状师的奥破佛全日忙于本人的任务,曾为体操运发动的芭芭拉醉心于相夫教子的生涯,一家人过着令全部友人好慕不已的生涯。当他们实现对家庭全部的妄想（身居豪宅!后代上大学!满屋的骨董跟珍藏品）之后,芭芭拉开端有板有眼的运营起一家外烩公司,但是这时他们之间的关联却涌现了疑问甚至于终极走到仳离的田地。在屋子的归属疑问上,俩人都绝不当协,于是豪宅酿成疆场,珍重的珍藏品酿成砸向对方的兵器,就连宠物也成为互相抨击的东西……
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加拿大CBC宣布预订11集新剧《FrankieDrake》。故事设定在上世纪二十年代（也就是加拿大历史上臭名昭著的华人移民禁令时期和反共时期），LaurenLeemeijubar.netSmith扮演多伦多唯一的女私人侦探，她专门承接警方不想办理也无力办理的案件。她知道如何运用自己的「女性资本」，但她并不总是在法律的范畴内行事。在搭档Trudy的帮助下，「Frankie与Drake侦探社」有能力迎接任何挑战。Frankie是个天不怕地不怕、非常前卫的女人，喜爱冒险，这也让她很容易惹麻烦，但她总能逢凶化吉。加拿大电视界的国宝级制片人CarolHay和MichelleRicci（《MurdochMysteries》）负责开发该剧。
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A group of insane asylum inmates flee a broken-down bus and occupy a nearby farmhouse. As they form a collective threaded by bizarre exercises and slapstick setups, the film spirals out into a freewheeling comedy of disorder, told with unusual verve and intensity, and featuring a dissonant, if deranged, soundtrack by free jazz innovator Ornette Coleman and his trio.
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Based on an unknown Sch?nberg opera from 1929, From Today Until Tomorrow explores one night in a not-quite loveless marriage. A husband and wife return from a party where she has flirted with another man, while he has cast an appraising eye toward an attractive, fashionably dressed acquaintance of his wife’s. Though each dreams, briefly, of leaving the marriage for the excitement and mystery of a new lover, in the end they decide stability and comfort are more important than the fleeting thrill of new romance. Directors Jean-Marie Straub and Danièle Huillet, who previously collaborated on two other films about music (The Chronicle of Anna Magdalena Bach, 1968, and Moses and Aaron, 1975), rely on long fixed shots in austere black-and-white so that the focus remains on the musical brilliance of Sch?nberg’s atonal score, performed here by 70 musicians. That Sch?nberg would choose such a relatively lighthearted message for his newly discovered musical language remains a mystery, especially since the conclusion reached by the husband and wife—to stick with the tried and true—seems directly at odds with Sch?nberg’s own philosophy of composing. It is just this juxtaposition, however, coupled with Straub and Huillet’s faithful presentation, that makes the opera a compelling addition to the Sch?nberg canon—and the film such a challenging and intriguing experience.
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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
