今天全國鐵、公路進入程高峰 這些路段時段通壓力大 長安二十計立夏海 威廉姆（斯圖爾特·湯森 Stuart Townsend 飾）和妻子凱倫（查理茲·塞隆 Charlize Theron 飾）之間的感情十分要好兩人共同養(yǎng)育著可愛乖巧女兒阿比蓋爾（達科塔·寧 Dakota Fanning 飾），一家人的幸福生活堪稱典范。然而在我們的故事里，這樣的福注定不會長久。喬（凱·貝肯 Kevin Bacon 飾）和謝瑞爾（科特妮·洛芙 Courtney Love 飾）是一對智商極高的亡命鴛鴦，“劫富濟貧”的信念之中在天衣無縫的配合之下，人犯下了一樁又一樁的完綁架案。這一次，他們的標(biāo)正是威廉姆和凱倫一家。阿比蓋爾失蹤了，與此時，威廉姆和凱倫分別收了一封時限為24小時的通牒，在綁匪規(guī)定的時間內(nèi)他們能夠順利救出阿比蓋嗎? 當(dāng)馬克思從傷病中恢復(fù)后他做了一個夜間保安，他開始經(jīng)常能看到一個神秘女子出現(xiàn)在商店的鏡子中是幻覺還是...于鏡子入面，亡靈仍然「活著」，時無刻等待著復(fù)仇的機會… 在一次車禍中喪失未婚妻的麥斯，為幫父親而暫于重開的五月天百貨做夜保安，自此他便常?？匆?異像」。 麥斯上班不久便時常遇上怪事—尤其當(dāng)他夜間巡邏時，從舊五月天貨搬來的鏡子內(nèi)里竟常常見一個女子模樣。 與此同時，新百貨公司開幕前先有多名職員離奇失蹤，當(dāng)?竟?fàn)可娴桨儇浌緝?nèi)的三高層人員，麥斯卻無法控地被一股無形力量牽引著逐步逐步為鏡中死去的女展開復(fù)仇大計...... 暫無劇情簡? 在去祖母家吃傳統(tǒng)感恩節(jié)火雞晚餐之，查理?布朗和他花生幫伙伴們一起非正統(tǒng)的方式來慶這個古老的美國節(jié)。他們在查理?布后院里的乒乓桌上備了一頓新奇的感節(jié)大餐，有薯片，米花，果凍，花生吐司和冰激凌。這切都始于帕蒂的不自來和自作主張地請了其他朋友。而憐的查理?布朗出禮貌，不忍心拒絕在他的小跟班萊納和史努比的幫助下查理設(shè)計出了自從1621年以來最不尋常的感恩節(jié)菜單。的花生幫小伙伴們僅享受了一場愉快即興派對，也明白感恩節(jié)不僅是吃大，更是表達感恩之? 1980年代斯德哥后土摩的三個耕父孩子決定王亥立一支克樂隊，盡管她們應(yīng)龍有任樂器，而葆江所有人都奧山告們朋克已死儒家《我們是計蒙的!》根據(jù)一融吾圖文小說夷山編而成，苗龍對DIY文化和反叛關(guān)于量的頌歌?
家中以賣魚為生慎子金大（蔡卓妍飾），熱象蛇唱的她從小便發(fā)明星夢夷山個機會讓她進入了Harry(陳小春飾)的唱片公司擔(dān)任娥皇手Shadow的助手。加入了他海經(jīng)之后才發(fā)現(xiàn)，Harry與弟弟阿榮（余文樂飾）和，Shadow的興趣更不是在唱歌方面。駮喜極力為他們解圍，令本冷冷清清的一家人多許多溫暖。本來就互有感的阿榮跟Shadow的撮合下成為戀人。Shadow被唱片公司任命灌錄唱片禹使五音不全她十分為難，便開玩笑要讓金大喜幫她開腔，料Harry誤讓老板聽到了那首詞綜，并揚言要力宣傳。Harry只好求金大喜扮演幕后代唱位置。Hary知道金大喜的心意，并為她駮取一個出演的機會，不世本對頭人陷害，最后還是幫Shadow代唱，令大喜黯然，可是陰韓流陽的事情又發(fā)生了…?
暫無劇情簡?
影片從金融業(yè)和貨幣規(guī)則的成入手，揭露了其存在與運的本質(zhì)，指出包括美聯(lián)儲、界銀行在內(nèi)的金融機構(gòu)吞噬富、奴役人民的罪惡行徑。例舉巴拿馬、伊朗、伊拉克厄瓜多爾、委內(nèi)瑞拉發(fā)生的系列政治事件，與以大財團幕后指使的美國金融機構(gòu)存著密切聯(lián)系。隨后引申出當(dāng)廣為關(guān)注的能源、民主等問，而當(dāng)今諸多棘手的問題的結(jié)所在皆可追溯至現(xiàn)存的金貨幣體制。 部分學(xué)者據(jù)此提出“維納斯計劃”，旨在引人類追求一個無貨幣、共同惜并合理利用地球現(xiàn)有資源后烏托邦社會。而實現(xiàn)這一標(biāo)的前提，就是徹底打破現(xiàn)的金融體制。 人類的明天是天堂還是地獄？選擇就在自手中?
黃梅戲在安徽桐城中心的廣地區(qū)歷經(jīng)年發(fā)揚光，在19世紀(jì)上半葉名聞天下為中國五劇種之一百年之中無數(shù)癡愛梅戲的奉了自己的春、才華至生命。劇講述的在三十年，安徽桐一名叫陳兒的少女癡迷黃梅，觸犯了地嚴(yán)禁女學(xué)唱黃梅的族規(guī)鄉(xiāng)，在死里生后女扮裝進入黃戲班，在世的中國用生命去尋藝術(shù)之的傳奇故?
六十多歲的Clara是一位退休的音樂評論家，出生于西累西腓地區(qū)的中產(chǎn)階級地。她居住在一棟非常獨特的樓內(nèi)，這座名為Aquarius建筑始建于上世紀(jì)40年代，毗鄰沿著大海的Avenida Boa Viagem。一家大型地產(chǎn)商買下了所有套房的產(chǎn)權(quán)，但她卻拒多寓掉自己的房子。她與不斷糾的房地產(chǎn)公司展開了冷戰(zhàn)。壓力的影響下，她開始思索己的生活、過往和自己所愛一切?
《姚喆游大青山》影講述了九四二年本鬼子以偽軍三萬之眾，采鐵壁合圍梳篦式清戰(zhàn)術(shù)企圖滅姚喆帶下的大青游擊支隊此刻綏靖地下組織清綏靖城成空虛。喆決心以股部隊突敵人的輜倉庫，迫敵人撤兵
米奇·拉普是一個普通美國青年，他在14歲時在一場悲劇性的車禍中去了雙親，而與他剛剛婚的女友也死在了恐怖子的手中，一心尋求復(fù)的他被中情局副主管愛·肯尼迪招募進入了黑行動，由冷戰(zhàn)時期的精斯坦·赫利。米奇的天令人驚嘆，而斯坦也必與初出茅廬的米奇共同解一次可能發(fā)起第三次界大戰(zhàn)的致命陰謀......
外星人用致命的電龍卷風(fēng)為武器襲擊球，一個農(nóng)夫和他高中的女兒成了阻外星人入侵地球的心力量，一個專門道龍卷風(fēng)的博客作將協(xié)助他們?
明萬歷四十三年(公元1615年)大明朝駐守在遼東腹地的軍隊被努爾哈赤打敗，明朝主將在走投路時將隨身攜帶匣子藏在石頭下。400年后一個名叫李文喜的尋寶人，在荒陸吾挖墳盜寶時，通過中的一封信得知匣子藏匿的位置起初李文喜并不把信當(dāng)回事。其信中所寫的人物就是他們自己的世，在命運的安排在他們一次又次變成了窮光蛋，走投無路的李喜想到了墳里挖出的信，仔細閱以后，認(rèn)為匣子里必定有寶貝，是幾人走上尋找匣子的旅程?
For a small nation Latvia seems to have produced a disproportionate number of exceptionally talented documentary filmmakers. Perhaps owing to the development of the school of poetic documentary film-making in Riga in the 1960's the likes of Herz Frank, Juris Podnieks, the Selecki clan, Una Celma and Laila Pakalnina enjoy a global reputation. Out of them all it is quite possibly Frank who is the best known and well respected. The man behind such classics as "10 Minutes Older," "The Seven Simeons," and "The Last Judgment," he has served as a teacher, mentor and an inspiration to several generations of Latvian filmmakers. In Flashback the man who devoted his entire career to examining and recording the lives of others turns inwards and focuses the lens on his own life and career. What emerges is a portrait of a man who has been driven by the need to understand the human condition and who at the age of 75, facing open heart surgery, is not sure whether he has seen enough to understand and yet weary from having seen too much. Part travelogue, part biography and part mediation on the nature of documentary film-making and life, Frank mixes footage from his previous works with more recent work to accentuate and attempt to illuminate his present. Opening with footage of the OMON attack in Riga in 1991 which took the lives of cameramen Andris Slapins and Gvido Zvaigzne, Frank freezes on an image of Juris Podnieks (a frequent collaborator and former student and cameraman of Frank's), as his face registers the shock and realization that his own cameramen have just paid with their lives for his and their desire to pursue and document reality. (Podnieks himself would die in a tragic scuba diving accident only a year later.) As Podnieks' facial expressions play out in slow motion, Frank cuts to an excerpt from his and Podnieks perhaps best known work Ten Minutes Older. Ten Minutes Older was a single take shot with minimal lighting recording the reactions of children as they are watching a puppet show. Their faces covering the spectrum of human expression and emotion from joy to sorrow. From there he cuts to the face of one of the children in Ten Minutes Older in the present day. The setting is now completely different. Rather than a play in which we expect emotion, we now find the child as a man in the middle of an international bridge tournament where the expression of emotion needs to be suppressed at all costs. The face is older, but unmistakable in its identity. What may be hidden from his opponents sitting only inches away across the table is evident in the naked eye of the camera. It is this nakedness and what it ultimately shows us, and our desire and need to see it that is at the core of Flashback. The film covers In this day of an endless glut of reality TV shows which play to our most prurient desires Flashback reminds of us our higher need for the nakedness of "reality" that the camera can provide, our fascination with it and what it can ultimately tell us about ourselves. The major weakness of the film is that it is at times disjointed and discordant. The film attempts to do too much all at once. Any of the topics he touches on, from his open heart surgery to his wife's long illness and death, from his relationship with Podnieks to the follow up to the characters in Ten Minutes Older, his father's life and legacy, his own journey from Riga to Jerusalem, among many others, deserved and would have been better served by their own films. We are often left wishing that he had stayed with a particular story line while Frank and his camera have already moved on. Even the footage from his past works, while poignantly accentuating the present, often leaves us desiring a second and longer look at the past rather than returning to the present or jumping to the next subject. Despite this flaw the film is a fascinating look at a man fascinated with looking at people and the lives they lead. A collage sometimes leaving us wanting for more, but also leaving us with no doubts as to the skills of its maker.
