C
搜索"C" ，找到 13245部影视作品
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Tom Kuntz,Mike Maguire
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洋葱电视台以新闻播报准确及时而著称，同时还制作许多专题采访节目，比如采访动作明星“击蛋侠”（史蒂文•西格 Steven Seagal 饰）和清纯流行偶像歌手梅丽莎•雪莉（莎拉•迈克埃利戈特 Sarah McElligott 饰）等。随着美国的全球性文化输出，就连在中东恐怖分子集训营受训的恐怖分子也偷看洋葱电视台的节目。电视台的新闻主播诺姆•阿彻（莱恩•卡利欧 Len Cariou 饰）反对高层与大公司合营的决定，尤其对新闻播报时插播玩具企鹅的广告不满。忍无可忍的诺姆决定在某次直播过程中宣布自己深思熟虑的宣言，但就在开口之际，洋葱电视台突遭恐怖分子袭击，诺姆被挟持，事态严峻。©豆瓣
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萨姆·门德斯
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当他们第一次见面，他是高谈阔论的有志青年，她是向往成为名演员的未来之星。而如今，婚后的他们变了。他变成了在公司做不喜欢工作的无聊上班族，她成了不入流的糟糕演员。在一次演出后，丈夫弗兰克（莱奥纳多•迪卡布莱里奥饰）与妻子爱波（凯特•温斯莱特饰）大动肝火，两人多年的积怨终于爆发。莫非婚姻真的躲不过七年之痒？悲痛的爱波整理照片，发现弗兰克年轻的照片，想起他曾经描述的“美好的巴黎”，她提出了一个计划“全家搬到巴黎”，以拯救这个家庭。但是，这看似遥不可及的计划，却成为了催化剂，将两人推向婚姻更痛苦的深渊。
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José Mojica Marins
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掘墓者兼杀人狂约瑟夫•赞纳塔斯（Raymond Castile 饰）经过四十多年的牢狱生活，终于凭借巴西法律的帮助重获自由。但是监狱并未削弱邪恶的力量，他心中仍然笃定着对恶魔撒旦的信念。约瑟夫和其忠实的随从搬到贫民窟，约瑟夫时刻受到往日罪行的纠缠，昔日伴侣们的鬼魂让其痛不欲生，然而他仍希望找到一个完美的女子延续自己的生命，为此不惜大开杀戒。
今非昔比，四十年后社会动荡，官员腐败。军警奥斯瓦多（Adriano Stuart 饰）及其兄弟较约瑟夫有过之而无不及，这两拨邪恶人马注定要有交锋的一天……©豆瓣
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Joaquín Luis Romero Marchent
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A wagon load of convicts on their way to prison is being escorted through the mountains by a cavalry troop. They are attacked by a bandit gang, and only a sergeant, his beautiful young daughter and an assortment of seven sadistic, murderous prisoners survive, and they are left without horses or a wagon. The sergeant must find a way to get his prisoners to their destination while protecting his daughter, watching out for the still pursuing bandits and trying to determine which one of the prisoners was the man who raped and murdered his wife.
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大卫·格瑞尼
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The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years.
At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with.
But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood.
I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential.
by D.R. SHIMON@lounge.moviecodec.com
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费尔南多·迪·莱沃
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Fernando Di Leo's "Milano Calibro 9" is an out-and-out masterpiece of Italian Crime cinema and, in my opinion, one of the most astonishing crime stories ever told. The first film in Di Leo's excellent 'Milieu' trilogy, "Milano Calibro 9" was followed by "La Mala Ordina" (aka. "Manhunt", also 1972) and the brilliant "Il Boss" (1973). The three films are not connected story-wise, but all three are excellent, and highly realistic portrayals of organized crime. As far as I am concerned "Manhunt" is (allthough excellent) slightly inferior to this one and "Il Boss" which both stand out as absolute all-time highlights of crime cinema. "Milano Calibro 9" is the best of them all, a film that is astonishing in all aspects, be it the ingenious plot that, apart from a compelling story and clever twists, includes social criticism, the performances, the gritty atmosphere and suspense or the brilliant score. I can hardly find the right words to express my admiration for this masterpiece which easily ranks among the greatest Gangster flicks ever brought to screen.
Gastone Moschin stars as Ugo Piazza, a tough and elliptical ex-convict who has just been released from prison. Immediately after his release, Ugo is approached by members of the Milan mob lead by the irascible gangster Rocco (Mario Adorf), as they suspect him to be responsible for the disappearance of a large sum of money belonging to their boss, an American (Lionel Stander) who controls the organized crime in Milan...
"Milano Calibro 9" is a film that delivers an astonishingly realistic mood of the underworld like hardly another. The intriguing storyline goes in hand with interesting characters, raw atmosphere, suspense and breathtaking action, social criticism and brutal violence. The film is simply stunning from the beginning to the end, which is even intensified by the brilliant score, a collaboration of the famous composer Luis Enríquez Bacalov and the Italian Progressive Rock band Osanna. Ugo Piazza must be one of the most charismatic gangster characters ever in cinema, and Gastone Moschin was the prefect choice for the role. Moschin delivers a brilliant performance, and the rest of the cast is also great. Mario Adorf is irascible like a rabid dog as the ferocious gangster Rocco, a role that fits him like a glove. The great Lionel Stander fits perfectly in his role of the American Mafia Don.
The two cop characters in the film are played by two of the greatest regulars of Italian genre-cinema, Luigi Pistilli and Frank Wolff (who committed suicide before the film was released). The ravishing Barbara Bouchet is astonishing and incredibly sexy in the role of Ugo Piazza's stripper girlfriend. Bouchet is both a stunning beauty and an excellent actress and this is doubtlessly one of her most memorable roles. This is also a political film and director Di Leo embedded a lot of social criticism about topics like corruption. This film simply has everything one can possibly desire in cinema. Films like "Milano Calibro 9" are the reason why I love cinema. This is an absolute masterpiece in all regards and, without exaggeration, one of the greatest Crime flicks ever made! The ingenious opening scene alone is more memorable than most films get in two hours.
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Alexander Singer
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In London, the pregnant wife of an industrialist falls down the stairs, loses her sight and has no recollection of the events but suspects that a mentally traumatic experience prior to the fall caused her accident.
Psyche 59 is a 1964 British drama film directed by Alexander Singer and written by Julian Halevy. It is based on the 1963 novel Psyche '59 by Françoise des Ligneris. The film stars Patricia Neal, Curd Jürgens, Samantha Eggar, Ian Bannen, Beatrix Lehmann and Elspeth March. The film was released on 29 April 1964, by Columbia Pictures.
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Neal Sundstrom
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一群男女来到五百年前的城堡观光，接着三个人离奇失踪，剩下的人发现城堡的机关能通往一个迷宫密道，然后他们下去搜寻，却一个挨一个死去，而城堡的伯爵似乎有所秘密隐藏，于是他们开始互相猜忌，到底是狼人的诅咒还是人为。
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查尔斯·克莱顿
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Classic British comedy adapted from a James Thurber story about a tweed manufacturer's elderly accountant who devises a plan to save the company from an American takeover bid. The arrival of an efficiency expert from the States causes enough of a stir but, when it turns out to be a woman, the old-fashioned number cruncher declares war. Man-eating businesswoman, Angela Barrows is sent by her US company to Edinburgh to investigate export opportunities. She meets businessman Robert MacPherson en route and he persuades her to help bring his company into the 20th century. The staff, lead by Mr. Martin, have other ideas and a battle between the old and new business methods breaks out.
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Attila Szász
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Christmas 1944. Soviet soldiers invade Hungary and drag every young woman with German origins away from a small village and transport them to a Soviet labor camp where they are forced to work in the coal mines under inhuman conditions. This is where Irén, one of the Hungarian women, meets Rajmund who decides to teach her how to survive. While she is determined to return home to her little daughter and family, history and fate have a different plan: Irén and Rajmund fall in love.
