一九四九之劫后英雄传国语

在《真爱如血》（TrueBlood）第五季中，苏琪（Sookie）[安娜·帕奎因(AnnaPaquin)饰]、比尔（Bill）[史蒂芬·莫耶（StephenMoyer）饰]和埃里克（Eric）[亚历山大·斯卡斯加德（AlexanderSkarsgard）饰]都将会有新的爱人。继苏琪在第四季末放弃比尔和埃里克之后，大家又都重新开始新的恋情了。这也是充满了兄弟情的一季，比尔和埃里克之间有一段不愉快的过去，当他们都想要拥有苏琪时，他们的关系变得紧张。但现在苏琪已经出局，他们之间有希望建立友谊。

　　故事的发生地是湖北产茶大镇——谷城五山镇。每年阳春三月，这里花红茶绿，人声鼎沸，茶叶的丰收让茶农们忙得喘不过气来。他们就跑到城里的劳动力市场找人来当采茶工，以质论价，按量付钱。每年都吸引了很多城里人来做季节工。                                                                    　　富大龙在片中饰演一个在生意上比较精明但在女孩面前拘谨木讷的茶场主。他演的回乡青年宋大雄，带头承包茶园种植有机茶。由于种植面积扩大，他独辟蹊径到城里请来十几个求职的大学生，清一色的漂亮女孩。这些女孩要求挺多，朴实的他一一满足了姑娘们的要求，教她们采茶、炒茶。后来他得到其中一个女孩章丽蕾的爱慕，最终把她留了下来。                                                                    　　制作公司：                                                                    　　* 北京电影制片厂 Beijing Film Studio [中国]

1949年4月，经过辽沈、淮海、平津三大战役之后，国共双方的军事力量对比发生了根本的变化。人民解放军根据毛泽东主席和朱德总司令“向全国进军”的命令，向尚被国民党当局控制的广大地区发起了大规模的战略进攻，矛头所指首先对准了国民党重兵盘踞的京（指南京）沪杭地区。1949年4月20日，我百万雄兵分中、东、西三个集团发起渡江战役，国民党苦心经营的千里长江防线在人民解放军排山倒海的攻势面前土崩瓦解。人民解放军乘胜南下，继而攻克南京，切断浙赣线，占领杭州，直逼上海。为保护上海人民生命财产安全和市区建筑，解放军经过周密部署并作出很大牺牲后，终于5月27日解放中国最大的城市——上海。影片在展现这一恢弘壮阔、气势磅礴的历史画卷的同时，也充分展示了在中国社会重大变革的历史时刻，重要事件、重要矛盾的发生、演变和重要人物即历史事件的决策者、指挥者、参与者以及“活的历史”——当事人的各种不同心态及情感世界。

今天是小学五年级学生万杉杉的12岁生日。很早的时候，妈妈杨丽娜就跟杉杉说生日那天要早点回来。可临近下班的时候，敬老院里李大爷和王大爷为一盘棋吵了起来，一时抹不开的李大爷还在回到房间后突然晕倒。照顾老人是杨丽娜的职责，回家跟女儿是很早就许下的承诺。两难之下，杨丽娜选择了照顾老人，等从医院回到位于市郊的家时，女儿杉杉独自靠在门上悄然熟睡。    

　　电影灵感源自中国冬奥金牌零的突破，讲述冬奥健儿拼搏进取、为国争光的故事。1980年中国代表团开始参加冬奥会，屡次与金牌失之交臂，失败与不甘像针一样狠狠刺痛中国人的心。为实现零的突破，秦杉组建以杨帆为代表的中国短道速滑国家队，临危受命立志一雪前耻。两人向金牌发起冲击，师徒关系也面临着激烈的碰撞和重重考验……                                                                    　　影片是“中国奥林匹克体育电影三部曲（《一个人的奥林匹克》《许海峰的枪》《我心飞扬》）”的第三部。

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.

三名大陆赴港的毛贼在白天抢劫金铺后，遇上巡警慌张逃亡，其中一人逃入另一帮被警方通缉多时并配备有强大火力的大陆悍匪躲藏的大厦，紧接着，警方重案组的命运被这两帮歹徒意外牵连，当他们以为成功打死悍匪可以放松庆祝时，又碰上那两个漏网的毛贼，一轮混战后，事情顿时变得非常突然。 而与警匪交战主干线并行发展的爱情线来得也非常突然。重案组干将钟健（任达华）和李森（刘青云）在办金铺劫案时巧遇以前认识的茶餐厅老板，就她的芳心到底属谁，众人猜测一番后得到吃惊答案。

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前洛杉矶警察Dakota Varley参加动力艇比赛，拼搏$250,000的奖金。但是他很快发现，这根本就不是那么一回事。他被Dawson麻醉和劫持，被空投到一个无人岛上和另外六名可怜虫参加终极挑战死亡游戏。他们每夜会被持来复的猎人追捕，直到唯一一人幸存。最后到底谁又会赢得这场价值$10,000,000奖金的比赛呢？让我们跟随Varley的极度地动作冒险去体会乘风驾浪的快感，你准备好了么？

Netflix续订了《#外星生命# Another Life》第二季。

“假小子”田娇因冒名顶替上场，裁判将其驱逐出赛场。同队的许傲处处与田娇作对，两人之间的矛盾越来越深。小组赛一场比赛中，田骄上演帽子戏法，眼看胜利在望，许傲却踢入一粒乌龙球。田骄咬定许傲故意将球踢入自家大门缺得到了教练的不信任，成为替补队员。在后续的一系列事件中，惊人真相浮出水面......

永远的“6时59分”开始了——　　在佑河家有着代代相传的止界术使用止界术，能够进入森罗万象尽数停止的“止界”。某天，主人公树里的外甥和哥哥，被诱拐犯绑架了。她为了救出他们而不得已使用了“止界术”，却遭到不应存在于那里的、除自己以外的“会动的”人类袭击。他们是尊崇止界术的“真纯实爱会”。围绕着使用止界术时所必需的“石头”，止界之谜、佑河家之谜逐渐浮出水面……

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