Tanter
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恩佐·巴博尼
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The movie concerns about Trinity(Terence Hill=Mario Girotti)a roguish and cocky gunman with fast weapon who works as bounty hunter.His brother Bambino(Bud Spencer)is sheriff in a village but is also an undercover thief which attempts execute a heist. The'll face off against a rich owner(Farley Granger) and a Mexican marauders who try evict to a Mormons group. They help to the pacific settles and the confrontation will be inevitable but is developed by means of successive fights without blood,neither gore or cruel murders.The violence isn't crude but slight and predominates the comedy and parody. The storyline is embarrassment and ridiculous but has its agreeable moments here and there.It's a spaghetti western with humor and narrates the usual issues:invincible antiheroes,spectacular showdown ,violent taking on but united to slapstick and simple humor.It's an entertained Italian western with adequate runtime where there are irony,tongue in check,shoot outs,numerous struggles and is quite funny and amused. Terence Hill is sympathetic,hilarious and likable; Bud Spencer is rough, two fisted,bouncing ,grumpy man but with good heart,their characters are similar to Stan Laurel and Oliver Hardy.The film is a spoof of famous films as ¨the magnificent seven¨ and ¨blazed saddles ¨but covered with spaghetti.The picture obtained a sequel with the same protagonists and director¨Trinity is still my name¨.Besides originated a series of awful imitations and copies. Rating:nice and bemused.
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CIAanalystRileyQuinnlosteverythingwhensheblewthewhistleontheUSgovernment.Huntedintoexile,sheescapedtoColombia.Twoyearslater,RileyislivingalonerlifestylewhensuddenlyCIAAgentBillDonovanshowsupwithanoffer.Hernamewillbeclearedifshehelpsaninternationaltaskforceconfiscatemillions.Rileyacceptsthejob,butsherealizestoolatethatitsalie.Pursuedbycorruptagents,Rileymustbattlethedemonsofherpastandfindawayback[emailprotected]
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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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杰夫·瓦斯特
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Duringtoday’sDCFandomeeventanumberofanimatedfilmswereannouncedforthesummerof2022.AmongthemisGreenLantern:BewareMyPower.Nodetailsweredisclosedabouttheplot,characters,orcasting.
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Infournewfeature-lengthepisodesofthebelovedBritishmysterysetinEnglandsmostmurderouscounty,DCIJohnBarnaby(NeilDudgeon,LifeofRiley)andDSJamieWinter(NickHendrix,Marcella)investigatethekillingsofaballroomdancecompetitorandarealestateagent,aseriesofattacksinavillageknownforitsspecialtyhoney,andaviolentclashbetweenfishermenandmudrunners.
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SixriotpoliceproceedwithanevictioninthecentreofMadrid,butthingsgowrongandamanloseshislife.AnInternalAffairsteamisgiventhetaskofinvestigatingthefactsandthesixriotpoliceareaccusedofmanslaughter.Thesquadsetabouttryingtofindtheirownwayout,leadingtotheirseparationand,finally,complicatingthesituationevenmore.Laia,oneoftheInternalAffairsteam,becomesobsessedwiththecaseandendsupdiscoveringthat,behindthefatefuleviction,there’salotmorethanmeetstheeye.
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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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PolicecommissionerHervilleisfounddeadinaChineserestaurantinthe13tharrondissementofParis.GiloumustbreakthenewstoLaure,whoisbeingtreatedinaPolicerehabilitationcenter.Nowinchargeoftheunit,GiloubeginsinvestigatingwithAli,ayoungcop,freshoutoftraining.Theyquicklyfindthemselvesonthecaseofabreak-ingonewrongandthetrailof15-year-oldRyan,ajuveniledelinquent.RobanlearnshemustsoonretirebutstillmanagestooverseetheHervillecase.Awaitingtrail,Joséphinestruggleswithlifeinprison.
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克里斯汀·斯图尔特将主演政治惊悚新片「四周受敌」(Against All Enemies),扮演美国影星!法国新海潮的短发女神珍·茜宝。杰克·奥康奈尔!安东尼·麦凯!玛格丽特·库里!科尔姆·米尼参演,本尼迪克特·安德鲁斯(「乌娜」)执导。 报告1960年月晚期,茜宝因怜悯跟支撑黑豹党(美国右翼黑国平易近权构造),并与其成员有交往,与平易近权活动家Hakim Jamal(麦凯扮演)也无情愫。她惹起了美国联邦考察局的留神,一位年青捕快(奥康奈尔扮演)对其开展考察。 由Automatik Entertainment制造,Fred Berger(「爱乐之城」「远山情人」)!Brian Kavanaugh-Jones(「埋伏4」「半夜流亡」)!Kate Garwood!Stephen Hopkins任制片人,Joe Shrapnel&Anna Waterhouse(「弗兰基与爱丽丝」)编写脚本,炎天开拍。
