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備注：已完結(jié)
類型：劇情片
主演：埃米爾·赫斯基 杰克·凱西 希羅·弗南德茲 賈克波·瓦格斯 加勒特·克
導(dǎo)演：Rafael Monserrate
語言：英語
年代：未知
簡(jiǎn)介：Abandoned by his father at the age of five and raised in near isolation by a loving, yet emotionally unstable and over-protective mother, the only life Peel Munter has ever known is within the confines of his childhood home. Upon his mother's unexpected death, 30-year-old Peel is left lost and utterly alone. With no job, family, or friends, he must make a choice; live as his mother did, lonely and unsettled, or change the course of his impending fate by breaking out into the unknown, facing the trials and tribulations of an outside world he doesn't understand. Unable to make the house payments, Peel decides to take in a couple of drifters as roommates. After forging what seems to be a burgeoning new family and brotherhood, one of the roommates betrays Peel's trust, compelling Peel to venture out in search of his long-lost, real brothers who had been taken away from him decades ago. Along the way, Peel's lack of cynicism and innocence has an inadvertent, yet powerful effect on those he meets, as he brings a group of marginalized misfits closer to their true home.
備注：已完結(jié)
類型：劇情片
主演：Artúr Somlay Miklós Gábor Zsuzsa Bá
語言：其它
年代：未知
簡(jiǎn)介：Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
備注：已完結(jié)
類型：劇情片
主演：阿爾·帕西諾 布倫達(dá)·瓦卡羅 約翰·古德曼 Deirdre O
導(dǎo)演：巴瑞·萊文森
語言：英語
年代：未知
簡(jiǎn)介：杰克·科沃基恩是一個(gè)退休的醫(yī)生，他在退休前就是一個(gè)激進(jìn)的人，總是會(huì)做出一些瘋狂的舉動(dòng)來?，F(xiàn)在，雖然他退休了，但是他還是很積極地參與各種醫(yī)療問題－－尤其是用醫(yī)療手段結(jié)束一些飽受無法治愈的病痛煎熬的人的生命－－科沃基恩把這叫做醫(yī)療服務(wù)，是一種解決病人痛苦的方法。這種方法叫做“安樂死”，在科沃基恩推行它的年代里，它僅僅是在歐洲的某些國家的合法行為，在美國，還沒有法律允許安樂死的施行。為了能減輕病人的痛苦科沃基恩決定自己試著嘗試安樂死的醫(yī)療服務(wù)，他自己設(shè)計(jì)并制作了一套能結(jié)束病人生命的經(jīng)脈注射裝置。緊接著，他在朋友的幫助下開始為痛苦中的病人施行安樂死的服務(wù)。不過他的行為遭到了一些美國人的抗議，保守的檢察官也將他起訴到了法庭。這個(gè)時(shí)候，一個(gè)叫做菲格的律師愿意免費(fèi)為科沃基恩辯護(hù)。因?yàn)榭莆只髅看味间浵铝瞬∪艘笫┬邪矘匪赖囊螅运男袨橹荒芩愕蒙鲜菂f(xié)助自殺，而不是謀殺。就這樣，科沃基恩一直如履薄冰地游走在法律和道德的邊緣。緊接著，密歇根州政府吊銷了他的醫(yī)療執(zhí)照，不過他把靜脈注射換成了毒氣，繼續(xù)著自己的服務(wù)。隨著他的名氣越來越大，找他施行安樂死的人越來越多，科沃基恩的野心漸漸表露了出來－－他要大眾完全認(rèn)可安樂死，他要他們知道，他正在做的是一項(xiàng)劃時(shí)代的事情。與此同時(shí)，因?yàn)闉榭莆只鬓q護(hù)，律師菲格為自己攢足了政治資本，他開始競(jìng)選議員。上了臺(tái)面的菲格翻臉不認(rèn)人，他說自己堅(jiān)決反對(duì)安樂死。感到自己遭到了拋棄的科沃基恩決定鋌而走險(xiǎn)，他詳細(xì)地錄制下了自己服務(wù)一名病人的過程，并將其公之于眾。這種挑戰(zhàn)道德底線的做法會(huì)為他帶來什么？
備注：已完結(jié)
類型：劇情片
主演：Kim Delaney .... Dr. Samantha Hill
語言：英語
年代：未知
簡(jiǎn)介：本劇是NBC頗具震撼力的電視迷你短劇《10.5》（地動(dòng)天驚）的續(xù)集和終結(jié)篇。在上一集中，強(qiáng)烈的地殼運(yùn)動(dòng)所引發(fā)的10.5級(jí)恐怖地震毀滅了美國西海岸，改變了地核結(jié)構(gòu)，直接威脅到到北美甚至整個(gè)西半球，造成了一系列連鎖災(zāi)害：夏威夷被海嘯吞沒，胡佛被摧毀，洛杉磯沉沒……《10.5 Apocalypse》（毀滅之日）的視覺效果達(dá)到了同類迷你劇中的高水準(zhǔn)?！ 榱苏雀嗟纳⑼炀葒?，Hollister總統(tǒng)（扮演者：艾美獎(jiǎng)和金球獎(jiǎng)雙料明星Beau Bridges，SG-1 第九季中可愛的將軍）決定孤注一擲。他找來全國最頂級(jí)也是最有爭(zhēng)議的地震學(xué)家Samantha Hill博士（扮演者：艾美獎(jiǎng)得主Kim Delaney）和她的上司兼前男友Jordan Fisher博士（扮演者：David Cubitt），評(píng)估最近一次地震所帶來的沖擊。Hill絞盡腦汁，沒辦法弄明白為什么會(huì)有持續(xù)不斷的地震和火山爆發(fā)，但她意外發(fā)現(xiàn)了也是地震學(xué)家的父親（扮演者：Frank Langella）多年前作出的一個(gè)難以置信的假設(shè)。如果這個(gè)假設(shè)正確，將會(huì)有更大的災(zāi)難到來，北美大陸也將徹底被改變：將被分割成兩塊獨(dú)立的大陸。
備注：已完結(jié)
類型：劇情片
主演：邁克爾·杜迪考夫 保羅·溫菲爾德 理查德·諾頓 阿曼達(dá)·懷斯 Jsu
導(dǎo)演：里克·雅各遜
語言：
年代：未知
簡(jiǎn)介：瑞克（邁克爾·杜迪考夫 飾）是個(gè)頂尖生化專家，曾在波斯灣戰(zhàn)爭(zhēng)中立下大功，一晚實(shí)驗(yàn)室中大量致命毒氣被盜，就在千均萬發(fā)之際，瑞克憑著他過人的膽識(shí)及沉著的智慧，才不致造成更大的災(zāi)難。事件過后，瑞克被要求協(xié)助案子調(diào)查，而他的妻子則因公務(wù)需要搭上副總統(tǒng)的訪問專機(jī)，沒想到另有一場(chǎng)危機(jī)正蓄勢(shì)待發(fā)。五個(gè)由卡洛斯領(lǐng)導(dǎo)的恐布份子，不僅偷了生化武器外，還劫了副總統(tǒng)的座機(jī)。由于瑞克的妻子也在飛機(jī)上，于是瑞克決定與一批救難人員進(jìn)入卡洛斯所劫持的飛機(jī)，但救援人手并沒有順利潛入飛機(jī)，只留下瑞克孤軍奮斗。...
備注：已完結(jié)
類型：劇情片
主演：阿瓊·卡普爾 阿莉雅·布哈特 阿莫瑞塔·金格 洛尼特·羅伊 Revat
語言：其它
年代：未知
簡(jiǎn)介：該片改編自2009年奇坦·巴哈特同名小說，講述一個(gè)旁遮普小伙子克里斯與一位泰米爾婆羅門女孩阿娜婭從相戀到坎坷步入婚姻殿堂的故事。當(dāng)一個(gè)精明的男人遇上一個(gè)聰明的女人，是雙劍合璧還是明搶暗奪？當(dāng)蠻橫無理的婆婆遇上自以為是的老媽，是不共戴天還是你死我活？當(dāng)愛情遇上未來，婚姻遇上幫派，當(dāng)他們不得不面對(duì)分離、背叛、利用、文化分歧、不正常的家庭、歇斯底里的親友、勾心斗角的環(huán)境…… 作品創(chuàng)作靈感源于作者和妻子的真實(shí)經(jīng)歷：兩個(gè)來自印度不同階層、不同文化背景的兩個(gè)年輕人，深深相愛且準(zhǔn)備結(jié)婚。當(dāng)然，他們的父母并不同意。為了能把他們的愛情轉(zhuǎn)化為婚姻，他們需要在長輩面前進(jìn)行一場(chǎng)艱苦的戰(zhàn)役。叛逆和斗爭(zhēng)都是簡(jiǎn)單易行的，但是要成功就難了。他們能做到嗎？他們是克服了重重阻撓，還是為了不得已的苦衷而半途放棄？ 近些年，奇坦·巴哈特的作品不斷被改編成電影搬上銀幕，如《熱線你我他》《三個(gè)白癡》《斷線人生》等。
