Sams

　　California, Mojave Desert, 1998. A strange glow appears in the sky. Sam, a forty-something door-to-door salesman, travels through the few inhabited zones of the Californian desert in search of clients, yet everything seems deserted. What's more, his wife won't answer his calls. It's as if everyone were avoiding him. When his car breaks down, Sam becomes a prisoner of the empty,...

Agroupoffriendsonaweekendtriptoacabininthewoodsfindthemselvesterrorizedbyalienvisitors.

Anightofunimaginableterrorawaitstwelve-year-old,Bobby,andhisbestfriend,Kevin,whentheyareabductedontheirwayhomefromschool.Managingtoescapehisconfines,Bobbynavigatesthedarkhalls,prayinghispresencegoesunnoticedasheavoidshiscaptorateveryturn.Evenworseisthearrivalofanotherderangedstranger,whosemysteriousarrangementwiththeki...

在挪威某个国度丛林公园的要地,坐落着一家清凉阴沉的旅馆。12年前运营旅馆的匹俦跟他们的孩子接踵掉落,令这里蒙上一层奥秘恐惧的面纱,同时也成为年青人们追求安慰!心驰向往的绝佳地点。1988年的一天,马格（PalStokka饰）!纳特（SturlaValldalRui饰）!西蒙（ArthurBerning饰）!安德斯（KimsFalck-Jorgensen饰）!海达（IdaMarieBakkerud饰）跟斯瑞（JulieRusti饰）等6名年青人相约离开山中度假,旅馆的氛围令斯瑞深感不安,在她激烈的请求下,世人废弃在旅馆留宿的筹划,转而露宿湖旁。夜晚,互有好感的斯瑞跟纳特偷偷幽会,却掉慎跌入一个补兽圈套,纳特身受轻伤,未多少更被一个奥秘的女子杀戮。自此,这群年青人开端了一段残暴无比的血腥假期……

剧集是一部以迷人的伦敦切尔西区为背景的当代犯罪片，住在船屋的探长MaxArnold虽出生在精致富有的切尔西区，但他本人行事低调的风格却与精英专属的切尔西区相去甚远。他与周围的邻居相隔一段距离，住在一艘船屋上。Max和他的搭档PriyaShamsie探员解决了一系列骇人听闻的谋杀案，揭开了切尔西标志性建筑背后的阴暗世界。他们所遇见的尸体，出现在一些不太可能的地方，包括家族经营的意大利餐厅、与足球流氓有勾连的社区花园中心等。

年近35岁的女孩希尔薇娅（翠西娅·奥凯丽TriciaOKelley饰）是一位西雅图早间电视节目的天气预报主持人。然而在一次实况转播中，这位“时髦的天气女孩”却在得知她的男友戴尔（马克·哈蒙MarkHarmon饰）出轨后，在现场直播中发挥失常。很自然，希尔薇娅被解雇了。希尔薇娅一直与戴尔同居，然而此事却让她心灰意冷，决定搬离戴尔。失去经济来源的希尔薇娅只好搬到弟弟沃尔特（瑞恩·戴弗林RyanDevlin饰）的家中暂住。沃尔特的邻居拜伦（帕特里克·J·亚当斯PatrickJ.Adams饰）是一位计算机程序员。他总是到沃尔特的公寓中工作，从而认识了单身又失业的希尔薇娅。在希尔薇娅寻找工作期间，拜伦不计回报地帮助着希尔薇娅。一段看似不可能的爱情火花，正在两人之间渐渐滋生，慢慢发芽。

杰夫（杰森·席格尔 Jason Segel 饰）是个终日无所作为的宅男,被母亲莎伦（苏珊·萨兰登 Susan Sarandon 饰）呼来喝去嫌他服务不力,他的欧巴帕特（艾德·赫尔姆斯 Ed Helms 饰）却是奇迹不错还完婚了,但与老婆琳达（朱迪·格雷尔 Judy Greer 饰）也在闹婚姻危急。一日杰夫接到一个打错的德律风,又在公交车上碰见个高中生,球衣当面名字刚好印着打德律风人要找的谁人名字,一贯入神片子「天兆」的杰夫以为这是一个启发,随着高中生下车的他遭受掳掠,无法浪荡在大巷上偶遇欧巴帕特,两人又莫名碰见跟另一个男子独自用饭的琳达,帕特拉着杰夫去追究琳达“外遇”的本相,凌乱的一天随着杰夫的“启发”而开展……

警探雷•维尔克鲁（科林•法瑞尔 Colin Farrel 饰）在加州芬奇市任务,跌入人生谷底低沉多年,他仳离,酗酒,性格火暴。他是外地黑帮喽罗弗兰克•谢苗（文斯•沃恩 Vince Vaugh 饰)的部下,弗兰克多年前撤除了强奸雷老婆的男子。他为谢苗干一些零活, 好比殴打 了一个近来写了一系列构造犯法变乱的记者。维尔克鲁近来的活儿是找到掉落数日的市政履行官本•卡斯帕雷的着落。文图拉县警长安妮•贝德拉丝（瑞秋•麦克亚当斯 Rachel McAdams 饰）在任务上很胜利,却疏远了她从事色情主播的妹妹阿西娜以及她身为新宗教首脑的父亲。加州高速公巡警保罗•沃德拉夫（泰勒•克奇 Taylor Kitsch 饰）得悉他被停职处置,一个年青女人谎称他请求跟她性买卖能力放行。一天深夜,一女子被发明危坐在高速路边的长椅上曾经新奇逝世亡,三位来自差别都会跟差别当局机构警员会聚在一同联手侦察此案。在考察进程中,他们逐步发明案子远比他们假想的庞杂得多。

Diz (Joel Courtney) is a reckless teenage drifter living life on the run. Abandoned by his parents as a child, he looks out for himself and doesn't accept handouts. He takes whatever he wants and runs. Jaded and determined to answer to no one, Diz lives a life marked by thievery and abandonment. Things change for Diz when he floats into a small town on the Snake River. There he is confronted by an unflappable old man named Marty and falls for Marty's guarded granddaughter, Selah. When Diz robs a local drug-dealing crazy, he becomes the owner of a giant pile of cash and the target of two vicious killers. With more money than he knows what to do with, and criminals at his heels, Diz puts the people he's learned to care about in danger, still trying to win Selah. But some things can't be stolen or bought. The River Thief is a film about guilt, self-sacrifice, and accepting life as a gift.

"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.