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備注：已完結(jié)
類型：動(dòng)作片
主演：托馬斯·米連 約瑟夫·科頓 Maria Fiore Mario Pia
導(dǎo)演：翁貝托·倫齊
語言：其它
年代：未知
簡介：Umberto Lenzi is undoubtedly the king of Italian crime movies, but unfortunately; Syndicate Sadists is not the best examples of his work in this genre. Lenzi's crime flicks tend to be a cut above the rest because he makes films based on stories with a point, and they don't lack direction; but this film feels a bit too wayward to fully fit with the rest of his stuff. The film takes obvious influence from Sergio Leone's landmark western 'A Fistful of Dollars' (which in turn, took influence from Akira Kurosawa's landmark samurai flick Yojimbo), in that it features two warring families and a strong character at the centre. The crime that Lenzi focuses on is kidnapping, and we centre on a character called 'Rambo'. Rambo is dragged into the war between the two families after his brother is killed because of it. Rambo uses his brains and brawn to pit the two families against one another, in the hope of gaining revenge for his brother's death, rescuing a young boy that they've kidnapped, and ultimately letting the two sides destroy one another. The film's biggest asset is undoubtedly Tomas Milian. Milian was put to great use by Lenzi in almost all of his crime thrillers. The range of characters he has played for Lenzi is immense, and this one is easily one of the coolest. The character is called Rambo, which immediately sprang to mind the popular Sylvester Stallone character - but for once, the Italians actually haven't stolen this name as Syndicate Sadists was released first! As usual, the film is wickedly entertaining, as we get to watch Milian get himself involved in the usual array of car chases, shootouts and brawls. Lenzi has got him riding a motorbike this time round, and every scene featuring it and Milian is a real standout! However, the film often feels like it doesn't really have anywhere to go, and this means that the running time is stretched out more than it should be. Compared to the crime films of other Italian directors, Syndicate Sadists is more than above average; but in relation to Lenzi crime flicks such as Almost Human and The Cynic, The Rat and The Fist - it doesn't stand tall as one of Lenzi's best. Still, if you're looking for ninety minutes of testosterone fuelled mayhem - Syndicate Sadists will suffice!
備注：已完結(jié)
類型：動(dòng)作片
主演：邁克爾·凱恩 諾埃爾·考沃德 班尼·黑爾 雷夫·瓦朗 托尼·貝克利 羅
導(dǎo)演：彼特·克林遜
語言：英語 / 意大利語
年代：未知
簡介：該片被公認(rèn)為英國電影的巔峰佳作之一，在英國電影學(xué)院評(píng)出的100部最佳英國電影中名列第36。片中匯集了大批當(dāng)年英國影壇的紅人。大盜查理(邁克爾·凱恩)剛出獄就急不及待要大乾一票，準(zhǔn)備截劫從中國運(yùn)到意大利的四百萬美元黃金。查理在一名黑道頭目資助下，展開了一個(gè)天衣無縫的盜金計(jì)劃，出動(dòng)了三架庫珀豪華車、一隊(duì)積架車及公車來堵塞交通。片中一幕寶馬庫珀豪華車(MINI Cooper)在好萊塢名人大道上瘋狂地追逐，穿過地鐵隧道入口，沿著只有迷你汽車才能行駛的狹窄小路狂奔，被認(rèn)為是影史上經(jīng)典飆車追逐場(chǎng)面，讓觀眾體驗(yàn)到前所未有的緊張刺激......
備注：已完結(jié)
類型：喜劇片
主演：蘇菲·瑪索 克麗絲塔·特瑞特 杰瑞米·卡彭 Marion Chabas
導(dǎo)演：麗薩·阿祖洛斯
語言：法語
年代：未知
簡介：和許多處于青春期的少女一樣，羅拉（克麗絲塔·特瑞特 Christa Theret 飾）覺得自己的生活糾結(jié)成了一團(tuán)亂麻。不僅僅是男友亞瑟（菲利克斯·穆阿提 Félix Moati 飾）的三心二意讓她十分憤怒，她和母親安娜（蘇菲·瑪索 Sophie Marceau 飾）之間的問題也似乎永遠(yuǎn)都得不到解決。然而，對(duì)于安娜來說，獨(dú)自撫養(yǎng)一個(gè)個(gè)性叛逆而倔強(qiáng)的女兒究竟有多么辛苦只有她自己心里清楚，同時(shí)，在漸漸變得冷漠而陌生的女兒面前，安娜又何嘗不是一個(gè)初出茅廬的“初學(xué)者”呢?！ 『迷谑虑榈倪M(jìn)展?jié)u漸有了轉(zhuǎn)機(jī)，在一連串的誤解和矛盾中，母女二人之間的堅(jiān)冰也在慢慢的溶解，當(dāng)安娜和羅拉各自站在對(duì)方的角度來看待她們之間所發(fā)生的一切時(shí)，整個(gè)世界發(fā)生了翻天覆地的變化。
備注：已完結(jié)
類型：喜劇片
主演：迪恩·馬丁 杰瑞·劉易斯 波莉·伯根 Marion Marshall
語言：英語
年代：未知
簡介：BillMillerisanunsuccessfulBroadwayperformeruntilhishandlersconvincehimtoenhancehisactwithastooge-TedRogers,aguypositionedintheaudiencetobethebuttofBill'sjokes.ButTedbeginstostealtheshow.Bill'sgirlfriendandhispalstellhimtomakeTedanequalpartner.Complicationsoccur,whileBillsingsandTedgetsthelaughs.
備注：已完結(jié)
類型：科幻片
主演：Margarete Sch?n Theodor Loos Paul B
語言：其它
年代：未知
簡介：Wunder der Sch?pfung is an extraordinary, fascinating Kulturfilm trying to explain the whole human knowledge of the 1920s about the world and the universe. 15 special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact. It its beautifully colored, using tinting and toning in a very elaborated way. Some visual ideas in the sequences with a space shuttle visiting different planets in the universe seem to have to be the inspiration for Stanley Kubrick's 2001 A Space Odyssey. In the context of Germany's Kulturfilm phenomenon, Wunder der Sch?pfung was among the greatest achievements of the 1920s. The production was constructed, rehearsed, and shot over a period of two and a half years, under the supervision of Hanns Walter Kornblum. The idea to describe the universe and man's place in it well suited UFA's Grossfilm mentality, one year before the Metropolis catastrophe. Hundreds of skilled craftsmen participated in the project, building props and constructing scale models drawn by 15 special effects draughtsmen, while 9 cameramen in separate units worked on the historical, documentary, fiction, animation, and science-fiction sequences. Without star roles or even protagonists, the film's plot is crowded with meticulously structured and skillfully acted single scenes an artful mosaic of small vignettes. No less than four credited university professors ensured the factual background behind the scientific and historical events portrayed. The film's symbol of progress and the new scientific era is a spacecraft, travelling through the Milky Way, making all the planets and their inspiring worlds familiar to us, with the extravaganza of their distinctive features. The film's educational intentions, however, become steadily more obscure, humorous, or even campy as this popularization project proceeds. With the excuse of presenting the end of the world a not-so-new concept as a new, undeniably scientific truth, the film veers happily along a new path, displaying detailed apocalyptic scenes of the end of mankind. For today's audiences, this amazing film demonstrates how the universe was comprehended in the 1920s, and how that view was sold to contemporary audiences.
