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误杀3
2024 0.0分 剧情片
郑炳睿(肖央 饰)的宝贝女儿婷婷众目睽睽之下,遭神秘绑匪绑架,始终陪伴父女左右的李慧萍(佟丽娅 饰)与他一同展开救女行动。但狡诈绑匪轻松躲避警方负责人张景贤(段奕宏 饰)的密集追捕,更将救女心切的郑、李二人玩弄于股掌之间。绝望间,郑炳睿选择走上了一条通往地狱的救女之路,纵使化身“修罗”也不能放过伤害自己女儿的恶徒!殊不知一场更大的阴谋正在悄然展开,所有卷入其中的人都无法逃脱。
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狼少女
2025 0.0分 剧情片
故事讲述的是十年前,越王司徒问天(于波 饰)率领四方人马于月圆之夜围杀银月狼族,银月狼族每逢月圆便由人化狼、实力大降,因此银月狼族几乎被屠戮殆尽,唯有少女银月夕(金雅娜 饰)逃出生天。十年后银月夕重现江湖,大肆暗杀当年曾参与屠杀银月狼族之人,但越王手下两名大将发现了她的行踪几乎将她逼入绝境,危难关头少年陆云初(邵帅 饰)出手搭救,然而事情又出现了转折……
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得宠先生国语
2024 0.0分 剧情片
讨厌动物的任春佳 (郑丹瑞 饰),在山中遇到意外,幸得流浪狗烧腩、动物义工邓悦娜 (卢慧敏 饰)发现而脱险。烧腩的灵性,渐渐打开这个顽固老人的心扉,春佳和悦娜更因此成为忘年好友。在悦娜的帮助下,春佳逐渐解开和女儿素仪 (廖子妤 饰)积压多年的心结。与此同时,怀着恶意的狂徒,正计划下药毒杀村中一带的流浪狗‥‥‥
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得宠先生粤语
2024 0.0分 剧情片
讨厌动物的任春佳 (郑丹瑞 饰),在山中遇到意外,幸得流浪狗烧腩、动物义工邓悦娜 (卢慧敏 饰)发现而脱险。烧腩的灵性,渐渐打开这个顽固老人的心扉,春佳和悦娜更因此成为忘年好友。在悦娜的帮助下,春佳逐渐解开和女儿素仪 (廖子妤 饰)积压多年的心结。与此同时,怀着恶意的狂徒,正计划下药毒杀村中一带的流浪狗‥‥‥
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濠江风云国语
1998 0.0分 剧情片
黑帮14K首脑尹志巨(任达华 饰),多年来一路打拼,从最初的帮会小弟到呼风唤雨的大哥,风光背后却又危机重重。他和一众兄弟好友结成七小福,凭借年轻果敢和好勇斗狠在群龙盘踞的弹丸澳门占有一席之地。但江湖一旦涉入,便难在脱身。逐渐爬上顶峰的崩牙巨与另一个强大势力摩罗炳展开连番恶斗,澳门一时间刀光剑影、血雨腥风。两虎相争,必有一伤,澳门江湖第一把交椅引得两派人马血流成河……   《濠江风云》又名《驹哥传..
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濠江风云粤语
1998 0.0分 剧情片
黑帮14K首脑尹志巨(任达华 饰),多年来一路打拼,从最初的帮会小弟到呼风唤雨的大哥,风光背后却又危机重重。他和一众兄弟好友结成七小福,凭借年轻果敢和好勇斗狠在群龙盘踞的弹丸澳门占有一席之地。但江湖一旦涉入,便难在脱身。逐渐爬上顶峰的崩牙巨与另一个强大势力摩罗炳展开连番恶斗,澳门一时间刀光剑影、血雨腥风。两虎相争,必有一伤,澳门江湖第一把交椅引得两派人马血流成河……   《濠江风云》又名《驹哥传..
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《欧洲的某个地方》剧情介绍

影视大全提供影视作品欧洲的某个地方高清全集在线观看的影视全集网,剧情片《欧洲的某个地方》全集作品的导演是Radványi  Géza   ,由Artúr  Somlay  Miklós  Gábor  Zsuzsa  Bánki  主演,欧洲的某个地方在豆瓣的评分为0.0,本片由小编于2024-04-11 04:38更新,希望大家喜欢,可以把《欧洲的某个地方》推荐给你朋友,本作品的地址为 https://yuliansteel.com/movie/index33961.html

《欧洲的某个地方》简介: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.

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