- wjm3u8
猜你喜歡
1988
0.0分
劇情片
HD
2000
0.0分
劇情片
20世紀(jì)60年代,香港監(jiān)獄烏煙瘴氣,警匪一家,腐敗橫生。曾經(jīng)專門為江湖兄弟打官司的律師陳兆康(吳鎮(zhèn)宇 飾),在幫助資深小混混紅孩兒(梁焯滿 飾)打官司的過(guò)程中突發(fā)意外,導(dǎo)致出手傷了警察,結(jié)果兩人雙雙鋃鐺入獄。典獄長(zhǎng)(徐錦江 飾)和獄頭食人鯧(龍方 飾)只手遮天,橫行霸道,經(jīng)常為了一己私欲對(duì)犯人大打出手。陳雖然看不慣他們的所作所為,卻無(wú)能為力。而牢房?jī)?nèi)魚(yú)龍混雜,各方勢(shì)力云集,有人想對(duì)陳律師動(dòng)手,有..
HD
2008
0.0分
劇情片
經(jīng)過(guò)修復(fù)和重新剪輯的終極版《東邪西毒》。片子取材于金庸的武俠神作《射雕英雄傳》,但故事的主線變成了原著中不受人待見(jiàn)的歐陽(yáng)鋒(張國(guó)榮 飾)。歐陽(yáng)鋒因?yàn)槲羧諔偃耍◤埪?飾)賭氣嫁給兄長(zhǎng)而離開(kāi)家鄉(xiāng)白駝山,來(lái)到大漠中開(kāi)了一家專門介紹殺手的酒舍。在沙漠的自我放逐中他重逢了好友黃藥師(梁家輝 飾),遇見(jiàn)了精分的慕容嫣(林青霞 飾),深情的想念妻子桃花(劉嘉玲 飾)卻不想相見(jiàn)的夕陽(yáng)武士(梁朝偉 飾),倔強(qiáng)的..
HD
2001
0.0分
劇情片
羅博(徐天佑 飾)和水潑(蕭宇樺 飾)是同班同學(xué),兩人之間的感情十分要好。和他們常常在一起玩的朋友們之中有一個(gè)叫沙示(袁卓威 飾)的男生,身邊女孩眾多,菲歐(羅慧英 飾)就是其中的一個(gè)。
一天,菲歐和男友在街頭吵架,就此結(jié)識(shí)了單純善良的姑娘小白(陳自瑤 飾),很快,菲歐便和小白成為了無(wú)話不談的好友,并且將小白介紹給了羅博和水潑認(rèn)識(shí)。讓水潑感到震驚的是,這并不是他第一次見(jiàn)到小白,曾經(jīng)在運(yùn)動(dòng)場(chǎng)上..
HD
1989
0.0分
劇情片
HD
2002
0.0分
劇情片
HD
《不安》劇情介紹
6080提供影視作品不安高清全集在線觀看的影視全集網(wǎng),劇情片《不安》全集作品的導(dǎo)演是羅伯托·羅西里尼 ,由英格麗·褒曼 馬蒂亞斯·維曼 雷娜特·曼哈特 主演,不安在豆瓣的評(píng)分為0.0,本片由小編于2025-08-24 09:04更新,希望大家喜歡,可以把《不安》推薦給你朋友,本作品的地址為 http://www.jfcy66.cn/movie/38521.html
《不安》簡(jiǎn)介:Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto there's no place like home is ironically updated to the adult circumstantial adage there's no sex like marital sex. Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the fairy godmother who speaks the last words in the movie.