542
7.0

臆想魔友

导演:
Brandon Christensen
主演:
基冈·康纳·特雷西,杰特·克莱恩,肖恩·罗格森,莎拉·坎宁,Stephen McHattie,钱德拉·韦斯特,Ali Webb,Deborah Ferguson,Luke Moore,Fox Rose,Jayson Therrien,Sarah Munn,Grace Christensen,Kevin Doree,Blaine Schlechter,格里克·温斯顿
别名:
未知
7.0
542人评分
英语
语言
2019
上映时间
未知
片长
简介:
A family find themselves terrorized by their eight-year-old son's imaginary friend.
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情系月亮湾
236
7.1
已完结
情系月亮湾
7.1
更新时间:09月06日
主演:刘建福,马亚楠,周浩东,李林希,何文辉
简介:中文名 情系月亮湾  总监制: 杜培峰,齐健  英文名:  顾问: 王春,王洪燕,韩平,丁月芝,吕武霖  制片地区:  监制: 王希荣,孙印考,朱道峰  类型: 剧情  策划: 李御 李林希  片长: 90min  剧本策划: 朱道峰 崔灏 吴浩  上映时间:  编剧: 文卿 韩路 侯杰冠  语言对白: 山东方言  联合导演: 崔灏 黄彬昊  制片人: 谭继源  出品公司: 北京大唐圣殿影视文化有限公司  演员导演:李林希  执行导演:王元勋  统筹、场记:高川  美术师:杨健  道具制景:董永春 查晓磊 吕建设  周浩东  周浩东  服化师:段瑞  摄影师:王亮  B组摄影:林国庆  灯光师:邵占强  同期录音:柳文欢  制片主任:左明刚  剧务主任:吕中政  生活制片:马丽  现场制片:陈小飞 张勇胜  外联制片:孙连伟  剧照:周杰  制片助理:杨茹涵  摄影助理:王成杰 穆萨 李栋 路长亮  升降师:王少军 李长国 宋海滨  灯光助理:邵党红 常建堂 李心建 刘金鹏  录音助理:海东  服化助理:刘万  发电车:徐华夏  车辆:王子军 刘健康 曹长伟 张健 韩文志 贺长亮 刘洪然  场务:苏帅刘少庆 王宝林 何飞 李小飞 孙建  后期统筹:杨如冰  后期导演:黄彬  剪辑调色:耿光耀  该影片是一部以现代情感为题材的环保励志片,以 “月亮湾湿地保护开发”为故事背  景,以大学生村官在月亮湾的工作生活为主线,在湿地公园及附近村进行拍摄,对于展现山亭自然风光和风俗人情、促进山亭区旅游文化事业发展具有积极的意义。该片拍摄协议已经签订,由山东鲁华环境艺术投资有限公司和北京大唐圣殿影视有限公司联合拍摄,将通过国内院线、音像制品、网络等渠道发行放映,并在中央电视台电影频道播出。
71
2013
情系月亮湾
主演:刘建福,马亚楠,周浩东,李林希,何文辉
牙仙
339
6.3
正片
牙仙
6.3
更新时间:09月05日
主演:道恩·强森,艾什莉·贾德,斯戴芬·莫昌特,瑞恩·谢克勒,塞思·麦克法兰,朱莉·安德鲁斯,切斯·埃利森,黛斯特妮·惠特洛克,布兰登·T·杰克逊,Dan,Joffre,埃莉·哈维,巴克莱·霍普,迈克尔·登杰菲尔德,Dale,Wolfe,Josh,Emerson
简介:

身形健硕的德里克·汤普森(巨石·强森 Dwayne Johnson 饰)是一个作风粗暴的职业冰球手,由于经常打掉别人的牙齿,因此他在场上得了“牙仙”的绰号。正所谓风云变幻,时代更迭,随着才俊新秀的涌现,德里克也渐渐成为一名过气的板凳选手。狂放自负的他必定心情极度失落,故而经常用冰冷的语言打碎别人的梦想。德里克的女友卡莉(艾什莉·贾德 Ashley Judd 饰)有一双可爱的儿女,小女儿刚好处在换牙期,对神秘的牙仙还充满遐想。此时德里克的老毛病又犯了,一心希望向女孩讲述牙仙并不存在的真相。他的粗暴做法惹来了麻烦,牙仙大陆的负责人莉莉(朱丽·安德鲁斯 Julie Andrews 饰)将他变为一个身长翅膀、手持魔杖、衣着短裙的牙仙女,在接下来的两周里,他将被迫以这身装扮为孩子们带去祝福

63
2010
牙仙
主演:道恩·强森,艾什莉·贾德,斯戴芬·莫昌特,瑞恩·谢克勒,塞思·麦克法兰,朱莉·安德鲁斯,切斯·埃利森,黛斯特妮·惠特洛克,布兰登·T·杰克逊,Dan,Joffre,埃莉·哈维,巴克莱·霍普,迈克尔·登杰菲尔德,Dale,Wolfe,Josh,Emerson
不安
788
7.0
已完结
不安
7.0
更新时间:09月06日
主演:英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特
简介: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.
70
1954
不安
主演:英格丽·褒曼,马蒂亚斯·维曼,雷娜特·曼哈特
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