剧情介绍🚖:“啪!”宛如玻璃破碎一般,一个巨大的脆响声传来。这一道宛如天幕一般的金色能量墙,瞬间就被巨大的黑色手掌,直接拍打成了漫天的金色碎片。密密麻麻的黑魔箭从这些金色碎片的中间穿越过去,疯狂的轰向三架直升机。“老师,根据现有的资料分析,白云岩沉积阶段在中元古代晚期,距离现在只有十几亿年的时间,而地球存在的时间却是超过了四十五亿年,在另外的三十多亿年里面,谁也不知道这片地壳发生过什么事情?”相比余宣他们这些老辈人,赵洪涛无疑接受的新思想更多一点,在初步理顺了自己的思路之后,他的话越说越快,“所以我怀疑这块玉石极有可能是上一个中元古时期形成的,因为某种原因又被卷入到地壳变动之中,从而才出现了这种玉中藏玉的现象……”“你说的这种可能性是存在的,我也有这样的怀疑……”听完赵洪涛的分析,余宣点了点头,说道:“这块籽料的纯度,是我所见过的玉石中最高的,甚至超出了羊脂白玉的级别,要是单论玉的品质,就是那块和氏璧,怕是也远远不如它的……”余宣没见过和氏璧,但是根据史料,和氏璧应该是山料开出来的,所以它的历史价值虽然很高,但是在现代专家眼中,和氏璧本身的玉质,还是不如最顶级的籽料的。🩹...[展开全部]
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更多 美国 得墨忒耳号的最后航程 在《吸血鬼德古拉》小说原作者布莱姆·斯托克笔下的一章“船长日志”中,“得墨忒尔”是把德古拉从特兰西瓦尼亚运到伦敦的船的名字——这艘俄国帆船运送着50个没有标记的大木箱出发,而此后在英国海岸线上搁浅,破破烂烂,全船仅存一个疯癫的幸存者。本片的故事将详细聚焦得墨忒耳号的那趟可怕旅程:某神秘的乘客把船员们一个接一个屠杀。
270P
在《吸血鬼德古拉》小说原作者布莱姆·斯托克笔下的一章“船长日志”中,“得墨忒尔”是把德古拉从特兰西瓦尼亚运到伦敦的船的名字——这艘俄国帆船运送着50个没有标记的大木箱出发,而此后在英国海岸线上搁浅,破破烂烂,全船仅存一个疯癫的幸存者。本片的故事将详细聚焦得墨忒耳号的那趟可怕旅程:某神秘的乘客把船员们一个接一个屠杀。
270P
美国,澳大利亚,加拿大,印度 金刚大战哥斯拉 这两位宛如神衹一般强大的对手于一场壮观的战争中相遇,彼时世界命运正悬于一线。为了找到真正的家园,金刚与他的保护者们踏上了一次艰难的旅程。与他们一道前行的还有一个年轻的孤儿女孩——吉雅,这个女孩与金刚之间存在着一种独特而强大的紧密联系。但意想不到的是,他们在前行的航道上与愤怒的哥斯拉狭路相逢,也由此在全球引起了一系列破坏。一股无形的力量造成了这两只巨兽之间的巨大冲突,深藏在地心深处的奥秘也由此揭开。
超清
这两位宛如神衹一般强大的对手于一场壮观的战争中相遇,彼时世界命运正悬于一线。为了找到真正的家园,金刚与他的保护者们踏上了一次艰难的旅程。与他们一道前行的还有一个年轻的孤儿女孩——吉雅,这个女孩与金刚之间存在着一种独特而强大的紧密联系。但意想不到的是,他们在前行的航道上与愤怒的哥斯拉狭路相逢,也由此在全球引起了一系列破坏。一股无形的力量造成了这两只巨兽之间的巨大冲突,深藏在地心深处的奥秘也由此揭开。
超清
中国大陆 极速世界之战车 女主角诗忆是方程式赛车SSR车队的一名新星车手。她青春靓丽、充满活力,拥有众多的追求者。SSR车队的王牌车手阿楠和机械师阿海,都是众多追求者中的一员。他们每天在一起赛车、唱摇滚、过着幸福自在的日子,而快乐的时光总是短暂的,诗忆从小相依为命的哥哥阿杰,是一名顶尖车手,因卷入一场国际犯罪组织的偷运走私事件,被犯罪团伙的头目“刀疤”枪杀灭口。听到此噩耗的诗忆如晴天霹雳,一夜之间长大,也因此踏上了为兄报仇的征途....
蓝光
女主角诗忆是方程式赛车SSR车队的一名新星车手。她青春靓丽、充满活力,拥有众多的追求者。SSR车队的王牌车手阿楠和机械师阿海,都是众多追求者中的一员。他们每天在一起赛车、唱摇滚、过着幸福自在的日子,而快乐的时光总是短暂的,诗忆从小相依为命的哥哥阿杰,是一名顶尖车手,因卷入一场国际犯罪组织的偷运走私事件,被犯罪团伙的头目“刀疤”枪杀灭口。听到此噩耗的诗忆如晴天霹雳,一夜之间长大,也因此踏上了为兄报仇的征途....
蓝光
中国大陆 广州故事 折迁公司经理阿强生活中有三个女人,妻子桂芳、女作家阿文、剧团唱青衣的阿凌。阿凌本是粤剧名伶,离婚后带着8岁的女儿借住在工尺巷的一间小屋里。由于建地铁和旧城区改造同时进行,阿凌的住处属拆迁范围,她无依无靠只好找阿文帮忙。
与阿文一起长大的阿强从小喜欢粤剧,他看到阿凌身处困境,颇有感触,便帮她在拆迁临建房安了家。阿强的妻子桂芳是个泼辣而又能干的女人,看到丈夫常与阿凌在一起,醋意大发,夫妻二人吵得不欢而散。阿强看到阿凌与永泰约会,心里也很不是滋味。阿强找阿文帮忙写报告,与阿凌三人谈到深夜,桂芳闯入,硬要阿强和她回家。桂芳大闹拆迁办并告诉阿强,想找具有阿凌的相貌、阿文的才气、自己这样能吃苦的女人,一辈子都找不到。
工尺巷的拆迁工作一波三折,经过众人的努力,终于圆满完成。阿强利用阿文与薛主任的关系,争取到了岭南文化艺术发展中心的建设工程。在签字仪式后的晚会上,...
720P
折迁公司经理阿强生活中有三个女人,妻子桂芳、女作家阿文、剧团唱青衣的阿凌。阿凌本是粤剧名伶,离婚后带着8岁的女儿借住在工尺巷的一间小屋里。由于建地铁和旧城区改造同时进行,阿凌的住处属拆迁范围,她无依无靠只好找阿文帮忙。
与阿文一起长大的阿强从小喜欢粤剧,他看到阿凌身处困境,颇有感触,便帮她在拆迁临建房安了家。阿强的妻子桂芳是个泼辣而又能干的女人,看到丈夫常与阿凌在一起,醋意大发,夫妻二人吵得不欢而散。阿强看到阿凌与永泰约会,心里也很不是滋味。阿强找阿文帮忙写报告,与阿凌三人谈到深夜,桂芳闯入,硬要阿强和她回家。桂芳大闹拆迁办并告诉阿强,想找具有阿凌的相貌、阿文的才气、自己这样能吃苦的女人,一辈子都找不到。
工尺巷的拆迁工作一波三折,经过众人的努力,终于圆满完成。阿强利用阿文与薛主任的关系,争取到了岭南文化艺术发展中心的建设工程。在签字仪式后的晚会上,...
720P
英国 偷龙转凤智多星 一女子谋划窃取银行资金,先通过勾引银行职员参与计划,后拉其夫入伙参与。精心策划,大胆实施,冒充银行巡视员成功把金库中现金掉包。当二人分别赶往机场与女子出逃时,发现黄雀在后,女子已同另一男人携款升空。二人懊丧之余,又准备实施新的计划................
480P
一女子谋划窃取银行资金,先通过勾引银行职员参与计划,后拉其夫入伙参与。精心策划,大胆实施,冒充银行巡视员成功把金库中现金掉包。当二人分别赶往机场与女子出逃时,发现黄雀在后,女子已同另一男人携款升空。二人懊丧之余,又准备实施新的计划................
480P
中国大陆 菜鸟王爷闹江湖 衢州府年轻的王爷庄周被手下设计的冒牌王爷顶替陷害,在逃跑途中被刺杀他的女侠客孙梦蝶一行救下,互不相识的双方慢慢擦除爱情火花,一同折返王府中成功制服了作恶的手下,期间矛盾频出,笑料不断。
720P
衢州府年轻的王爷庄周被手下设计的冒牌王爷顶替陷害,在逃跑途中被刺杀他的女侠客孙梦蝶一行救下,互不相识的双方慢慢擦除爱情火花,一同折返王府中成功制服了作恶的手下,期间矛盾频出,笑料不断。
720P
中国大陆 你是我的春天 倔强的人为了爱人奔走在空城,讨血汗钱的农民工巧合下驰援武汉,抗疫前线的人们除了顶着高压还要学会告别,后方阵地的社区工作者照顾居民却把风险留给了自己,平时疏于交流的父子也被迫日夜相处。总有一些措手不及的事情发生,但也总有一颗治愈的种子在人们心中生根发芽,这是一部关于春天和希望的电影。
超清
倔强的人为了爱人奔走在空城,讨血汗钱的农民工巧合下驰援武汉,抗疫前线的人们除了顶着高压还要学会告别,后方阵地的社区工作者照顾居民却把风险留给了自己,平时疏于交流的父子也被迫日夜相处。总有一些措手不及的事情发生,但也总有一颗治愈的种子在人们心中生根发芽,这是一部关于春天和希望的电影。
超清
中国大陆 谁来倾听 大学生李雯是个清纯美丽的姑娘,她无意中介入了电视台主持人孙平的生活。孙平的家庭看似平静,他与妻子小力各自忙于自己的事业,一心挣钱,夫妻关系日渐冷淡。小力的朋友娜娜等人热心斡旋,但极力维护小力家庭的努力却适得其反,几乎将孙平的家庭推向崩溃的边缘。 正当孙平几乎不能自持之时,他忽然发现李雯竟然是个身患绝症、处于生死边缘的病人。于是孙平、小力和娜娜等人共同投入了对李雯的热心救助之中,没想到这一救助行动又奇迹般地挽救了孙平与小力濒临毁灭的家庭。 每一个人可以通过倾诉和倾听反思自己的生活、重建自己家庭的幸福。
480P
大学生李雯是个清纯美丽的姑娘,她无意中介入了电视台主持人孙平的生活。孙平的家庭看似平静,他与妻子小力各自忙于自己的事业,一心挣钱,夫妻关系日渐冷淡。小力的朋友娜娜等人热心斡旋,但极力维护小力家庭的努力却适得其反,几乎将孙平的家庭推向崩溃的边缘。 正当孙平几乎不能自持之时,他忽然发现李雯竟然是个身患绝症、处于生死边缘的病人。于是孙平、小力和娜娜等人共同投入了对李雯的热心救助之中,没想到这一救助行动又奇迹般地挽救了孙平与小力濒临毁灭的家庭。 每一个人可以通过倾诉和倾听反思自己的生活、重建自己家庭的幸福。
480P
越南 抽象画中的越南少女2 玲(芝芙 飾)和姮(阮清薇 飾)是一對分散多年的好友,某天,玲收到姮的邀請,前往郊區一間老房子拜訪她。玲在房子裡發現傳說中含冤而死的女鬼「慕依」的畫像,姮因此意外遭到附身而性格大變,出現各種失序的行為。為了拯救好友,玲必須解開畫像背後的秘密……。
270P
玲(芝芙 飾)和姮(阮清薇 飾)是一對分散多年的好友,某天,玲收到姮的邀請,前往郊區一間老房子拜訪她。玲在房子裡發現傳說中含冤而死的女鬼「慕依」的畫像,姮因此意外遭到附身而性格大變,出現各種失序的行為。為了拯救好友,玲必須解開畫像背後的秘密……。
270P
美国 琵琶鱼 时间是 1906 年。在天启的黑暗天空下,一对年轻夫妇的夜间仪式被一位神秘的女人打乱,她将丈夫埋在溪边。
2K
其它 欧洲的某个地方 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.
2K
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.
2K
韩国 情欲风暴 潦倒过气作家俊池,与妓女花心同居,终日纵情欲望。某天,花心的姊妹淘圣熙前来投靠。俊池见到圣熙,发现她就是数天前被流氓调戏,经他解围后在电话亭一起ML的女人。后来流氓登门寻仇,花心叫圣熙到俊池的房间,两人共处一室,加上圣熙几番挑逗,俊池按捺不住再次跟圣熙做了爱。而在隔壁,花心却被流氓百般的凌虐。纸终于包不住火,花心发现了两人的私情,心痛之馀,她选择以死来逃避无法面对得一切...
标清
潦倒过气作家俊池,与妓女花心同居,终日纵情欲望。某天,花心的姊妹淘圣熙前来投靠。俊池见到圣熙,发现她就是数天前被流氓调戏,经他解围后在电话亭一起ML的女人。后来流氓登门寻仇,花心叫圣熙到俊池的房间,两人共处一室,加上圣熙几番挑逗,俊池按捺不住再次跟圣熙做了爱。而在隔壁,花心却被流氓百般的凌虐。纸终于包不住火,花心发现了两人的私情,心痛之馀,她选择以死来逃避无法面对得一切...
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韩国 了解的不多也无妨,是一家人 该剧是讲述像家人一样的陌生人以及像陌生人一样的家人的误解与理解的故事。随着年龄的增长,父母和子女相处的时间减少,秘密却增多,在这一现实背景下各自过着彼此的人生,遇到比家人更了解自己的秘密的人们。对我不太了解但是亲属关系,并不是我的亲属但对我无所不知,描写人们和家人的故事。
由《请输入关键词WWW》《Suits》副导演权英日导演执导,《邻家花美男》金恩静编剧执笔。
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该剧是讲述像家人一样的陌生人以及像陌生人一样的家人的误解与理解的故事。随着年龄的增长,父母和子女相处的时间减少,秘密却增多,在这一现实背景下各自过着彼此的人生,遇到比家人更了解自己的秘密的人们。对我不太了解但是亲属关系,并不是我的亲属但对我无所不知,描写人们和家人的故事。
由《请输入关键词WWW》《Suits》副导演权英日导演执导,《邻家花美男》金恩静编剧执笔。
4K
英国 杀手快报 表面看来,史蒂芬妮(贾斯婷·鲍威尔 Justine Powell 饰)是一个性感美艳的应召女郎,游走在灯红酒绿的花花世界之中游刃有余,实际上,她有着另一重秘密身份——意大利黑手党的卧底。实际上,史蒂芬妮对自己这种充满了危险的双面生活早已经厌倦不堪,于是,她决定金盆洗手,带着年幼的小女儿远走高飞。
可是,过去的阴霾却并不愿意放过史蒂芬妮,黑手党再度找到了她的踪迹,希望她能够帮助他们完成一个危险而又重要的任务。黑手党知道史蒂芬妮不会轻易就范,于是挟持了她的女儿作为筹码,但是他们不会知道,为了保护自己的女儿,一个母亲会做出怎样的事情。
720P
表面看来,史蒂芬妮(贾斯婷·鲍威尔 Justine Powell 饰)是一个性感美艳的应召女郎,游走在灯红酒绿的花花世界之中游刃有余,实际上,她有着另一重秘密身份——意大利黑手党的卧底。实际上,史蒂芬妮对自己这种充满了危险的双面生活早已经厌倦不堪,于是,她决定金盆洗手,带着年幼的小女儿远走高飞。
可是,过去的阴霾却并不愿意放过史蒂芬妮,黑手党再度找到了她的踪迹,希望她能够帮助他们完成一个危险而又重要的任务。黑手党知道史蒂芬妮不会轻易就范,于是挟持了她的女儿作为筹码,但是他们不会知道,为了保护自己的女儿,一个母亲会做出怎样的事情。
720P
英国 / 美国 煽动者 聚焦英格兰王后凯瑟琳·帕尔,她是英格兰国王亨利八世六个妻子中的最后一位,于1543年-1547年为英格兰王后,之后为英格兰太后。她也是英格兰结婚次数最多的王后,有过四位丈夫。
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法国 虎皮萌企鹅(原声版) 虎企鹅Maurice从天而降到丛林中,它到底是一只企鹅,还是一只老虎?它的妈妈为什么是一只老虎?而它的孩子为什么是一条鱼?滑稽的无厘头的设计,反倒让这个角色充满了各种谜团。当丛林的命运危在旦夕,他们决定凭借着自己的智慧粉碎坏蛋考拉的阴谋。一场啼笑皆非的冒险一触即发。
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虎企鹅Maurice从天而降到丛林中,它到底是一只企鹅,还是一只老虎?它的妈妈为什么是一只老虎?而它的孩子为什么是一条鱼?滑稽的无厘头的设计,反倒让这个角色充满了各种谜团。当丛林的命运危在旦夕,他们决定凭借着自己的智慧粉碎坏蛋考拉的阴谋。一场啼笑皆非的冒险一触即发。
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投屏教程
第一步
将电视/盒子、手机连接到同一WIFI下;
第二步
在视频播放页面,找到 图标,从列表中选择需要投屏的设备即可投屏成功;
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请点击下方按钮,查看不同手机和浏览器的投屏教程。