汉城大劫案

　　剧情延续上季时间线，吉米的哥哥查克（迈克尔·麦基恩饰）悄悄录下吉米（鲍勃·奥登科克饰）承认在法律文件上做手脚的不当行为，想毁掉弟弟的律师前程 ，两兄弟的对峙促使本性善良的吉米更进一步转变为游走在法律边缘的无良律师“索尔·古德曼”

Pottan is going to a riding camp, but ends up at a recycling center where she is taken care of by the strange staff. One day Pottan finds out that the staff are building a space rocket.

Whenthebodyofalocalteenageboyisfoundunderneaththewheelsofatractor,thevillagersinthisremotecommunityandhisfriendsareforcedtoopenuptheirworldandwatchtheirsecretsspillout.

The history of Danish country church architecture is told by showing scenes of how the church was used by the congregation, beginning with the celebration of mass in a small and simple wooden church 800 years ago, and ending with the congregation singing in a village church of to-day. The development and the growth of the pattern of church architecture is shown.　　Dreyer in this film shows a series of churches from different periods with churchgoers in period clothing. Each period is separated by a shot of a church bell double-exposed on the sky. Although the film has a vibrant and instructive way of communicating the different epochs and styles to students, it does not exhibit the artistic quality that usually distinguishes a Dreyer film, except perhaps in some of the costumes, which were originally made for Day of Wrath.　　The board of Dansk Kulturfilm in autumn 1945 decided that their planned church film would exclusively be about village churches. Dreyer would rework the script that was written by editor and folk high-school principal Bernhard Jensen, aided by a committee of experts consisting of architect H. Lønborg-Jensen and Victor Hermansen, curator at the National Museum of Denmark. Dreyer had a first draft ready in mid-March, entitled Kirken er et gammelt Hus (The Church Is an Old House), which was distributed to the members of the committee for their comments.　　In the last half of July, Dreyer and Victor Hermansen travelled the country to look at suitable churches. They researched the details and at Dreyer’s request a number of technical changes were made to the churches, including the removal of porcelain holders for electrical wiring in Tveje Merløse Church.　　On 4 July, Dreyer went in advance to Ringkøbing. Shooting was set to start a few days later with the arrival of the director of photography, Preben Frank, who had fallen off a ladder and broken his leg, Fortunately, he was ready to cautiously start working again within a few days, with his leg in a cast.　　Otherwise, the production went without a glitch. Everywhere, Dreyer said, they were well received at the vicarages and they had no problem getting enough extras. On 1 august, they returned to Copenhagen with almost all their footage in the can. They only needed to film the church in Skelby, where the weather had been against them, plus a Swedish wooden church in Hedared. The economy was distressed so soon after the war, especially when it came to foreign currency, but there were no real wooden churches left in Denmark and building an interior set in the studio would be too expensive.　　The finished film was shown for the first time on 24 September 1947 to a small, closed circle, which included the Minister for Ecclesiastical Affairs. In December 1947, as was Dansk Kulturfilm’s standard practice, the film was presented to the press, politicians and others on a programme with four other short films.

把没有职业的无业游民的男朋友叫到了家里每天喜欢性的女儿珍恩对爸爸（成泰）对抗的话，就在家里被赶出来了。没钱无处可去的恩真重新回到家里来向爸爸下跪求饶。泰泰也不能做女儿恩真重新接受我的院一起生活

李春李东是一对双胞胎。从小父母偏心，一切李春优先。按照二姐李清的说法，父母把李春当正品，把李东当次品养。奶水不够，父母就决定丢卒保车，把李东送到山区去喂养，导致李东从小营养不良，体弱多病，智商受损。尤其是父亲，把自已年老以后的全部希望都寄托在李春身上了。为了给李春安排好的工作与前程，你亲不惜伤害女儿的利益，不怕得罪女儿，也不惜被人举报“以权谋私”，目的只有一个：让李春有个好前程，好光耀门宗。后来李春通过自己的努力，上了广西大学的研究生，毕业后成为一名省报记者，生活充裕。后来父亲摔了一跤成为四肢瘫病人，这个时候，一天二十四小时守在父亲身边的，是下岗失业多年的李东。而李春却振振有词地说：“我对孝有自己的看法。。赡养老人，是社会的责任。。。”拒绝对父亲尽最基本的义务，从此不再与父亲联系。大姐李华联合五个弟弟妺妺要将其告上法庭，要以法律的名义彰显道德的尊严，...

湘西荒山里的落花村，以前是出了名的赶尸村，明清时期村里出了个著名的赶尸先生“齐大师”，在全国等地都曾有分铺，专门负责赶尸回乡。齐大师死后，后人经历了战乱，失去了这门本事。对巫文化有着浓厚兴趣的秦教授，带着学生来到湘西落花村研究“湘西赶尸术”。落花村发生了离奇古怪的事情，灵堂尸体躯干凭空消失。这场研究巫文化的旅途充满波折，各种灵异事件频频发生。在人性与欲望的博弈交织中，落花村隐藏的秘密逐渐浮出水面，迫害村民，将他人命运玩弄于手掌间的阴险之人得到惩治，落花村重归太平。

在一个充斥着贪腐和饥荒的王国中，关于国王死亡的神秘传闻沸沸扬扬，同时一场奇怪的瘟疫传播开来，感染者可获得不死之身并嗜食人肉。成为阴谋牺牲品的皇太子开始踏上揭露邪恶阴谋，拯救子民的征程。

暂无简介

暂无简介

随飞船迫降在外星球上后，罗宾逊一家被隐藏的危险所包围，为了求生和脱险而竭尽全力。

Constantly on the hunt and suffering from hallucinations that drive his violent nature, an unnamed man is capturing women and savagely beating them to death. Meanwhile, a woman is luring men into a violent end, by way of her knife. Driven by the same force to make the opposite sex suffer, the killers’ fates intertwine. The two must face off in a battle to the death, in which they are forced to reveal the horrible truth behind their addiction to murder.                                                                    “Brutal” takes an interesting approach to its visuals, drawing heavy influence from Western “Grindhouse” films, using a filter to make the footage appear grainy, damaged, and with light and color fluctuations. Unfortunately, the visual styling ends up feeling misguided, as other than applying the filter it does not imitate any other aspects of the “Grindhouse” genre. Despite trying to dirty up the film, it is apparent it was shot on digital. The cinematography is also a step above most “Grindhouse” productions, with Takashi Hirose proving he has talent behind the camera. Exterior shots to those taking place in small spaces are all competently framed, lit, and transition well. The decision to add an effect on top of the work hurts the film’s imagery and even gives a sense of desperation to try to capture a certain type of nostalgia with the audience, instead of relying on its own strengths. It is unfortunate when one creative choice can hurt a production so much.                                                                    The story of “Brutal” is simple but effective, it does attempt some sort of social commentary about the violent nature of men and women, but it does not offer enough depth into the subject to justify the amount of violence on display. The film does end on a strong note with an interesting twist, with a reveal that is bound to gross some out, while giving others a chuckle. In spite of its simple nature, those who enjoy films that make them somewhat uncomfortable and enjoy the challenge of getting through some ultra-violence, “Brutal” poses a fun and entertaining challenge in that regard.

奥黛丽（詹妮弗·安妮斯顿JenniferAniston饰）和尼克（亚当·桑德勒AdamSandler饰）的婚姻已经走入了第十五个年头，感受到了“七年之痒”所言非虚的夫妻两人决定用一场旅行来修复他们之间的关系，令爱火重燃。在飞机上，夫妻两人邂逅了一位百万富翁穆尔康（特伦斯·斯坦普TerenceStamp饰），穆尔康热情的邀请两人进入自己的社交圈，前往自己位于欧洲的豪宅里度假。然而，让奥黛丽和尼克没有想到的是，在豪宅里竟然发生了一场谋杀案，身为“不速之客”的他们很快就成为了最大嫌疑人。直到这时，两人才意识到，或许他们闯入了一个圈套之中，成为了凶手的替罪羔羊。