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剧情:

剧情介绍🧊:他绝对不干。“既然如此,那就这样吧,我们就按照莫道友说的去做。莫道友,你去采摘沥仙王道果,我们来刻玉简。”沉虎做事极为干脆,说完后,已经将禁止中的玉简拿了出来,悬浮在虚空中。好在这玉简本身没有禁止,所有人的神识都可以看透玉简中的内容。“高血压是慢行病,根本治不好啊,去找西医也只能是一直吃药抑制。”PD小声道。“您张嘴我看看。”方丘依旧在四诊。病人张嘴,发现舌质红、苔黄。“我再给您把把脉。”方丘伸手把脉。最终得出结论,病人脉弦有力,是肝火上炎型高血压。诊断结束后。方丘稍微迟疑了一下,说道:“大叔,我虽然有办法能帮你快速的把血压降下去,但是也维持不了多久,高血压这种病要想治好,除了要注意生活习惯之外,其他的治疗方法都需要时间,但是我现在没有太多得到时间帮你调理。”“这样吧,我教你一个方法,你自己去做,相信要不了多久就能治好的。”病人本来以为这病治不好。👖...[展开全部]

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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.
720P
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.
720P
中国香港 天若有情[电影解说] 华弟(刘德华 饰)是一个黑道的小混混,喜欢从飚车中得到快感,整天骑着电单车。他在极不愿意的情况下做了一宗抢劫案,警方怀疑他实施追捕,他挟持了富家女Jojo(吴倩莲 饰)出走,没想到他们不管悬殊的身份地位,很快爱上了对方。Jojo不管家里人的反对跟着华弟出走。华弟后来更遭到了黑道老大的追杀,两人亡命天涯。
蓝光
华弟(刘德华 饰)是一个黑道的小混混,喜欢从飚车中得到快感,整天骑着电单车。他在极不愿意的情况下做了一宗抢劫案,警方怀疑他实施追捕,他挟持了富家女Jojo(吴倩莲 饰)出走,没想到他们不管悬殊的身份地位,很快爱上了对方。Jojo不管家里人的反对跟着华弟出走。华弟后来更遭到了黑道老大的追杀,两人亡命天涯。
蓝光
日本 御姐玫瑰2 未来,某组织所研发的药物导致大量僵尸产生,这群冷血无情、嗜血如命的行尸走肉大肆屠杀、啃咬人类,被其咬过的人也很快变为僵尸的同类。从爆发一刻起,僵尸病毒统治地球将近20年,文明毁灭殆尽,人类濒临灭绝。身怀绝技的姐妹阿彩(手島優 饰)和阿咲(川村りか 饰)行走天下,凭借出色的剑术斩杀僵尸。某日,姐妹俩救助神秘少女美沙里。美沙里和姐妹俩同样流着忌血,她告知姐妹俩一个名为卑魅虚的强大僵尸集团正四处寻找忌血的后裔。自此三人一路同行,踏上寻找卑魅虚的旅途。偶然机会,阿咲从美沙里口中得知一个见到死去父母的方法,但这背后似乎又隐藏着什么秘密…… ©豆瓣
4K
未来,某组织所研发的药物导致大量僵尸产生,这群冷血无情、嗜血如命的行尸走肉大肆屠杀、啃咬人类,被其咬过的人也很快变为僵尸的同类。从爆发一刻起,僵尸病毒统治地球将近20年,文明毁灭殆尽,人类濒临灭绝。身怀绝技的姐妹阿彩(手島優 饰)和阿咲(川村りか 饰)行走天下,凭借出色的剑术斩杀僵尸。某日,姐妹俩救助神秘少女美沙里。美沙里和姐妹俩同样流着忌血,她告知姐妹俩一个名为卑魅虚的强大僵尸集团正四处寻找忌血的后裔。自此三人一路同行,踏上寻找卑魅虚的旅途。偶然机会,阿咲从美沙里口中得知一个见到死去父母的方法,但这背后似乎又隐藏着什么秘密…… ©豆瓣
4K
中国香港 捉鬼有限公司 孟加拉(陈百祥 饰)和罗拔(陈山河 饰)是公司里的新人,简天伟因为老板提拔自己的女儿简美芝(郭秀云 饰)为总经理而深感不满,于是请来了各路牛鬼蛇神将公司上下搅得一团糟。孟加拉暗恋着简美芝,而罗拔亦喜欢着女职员叶灵(邱淑贞 饰),两人为了爱人心甘情愿的留了下来。   公司主任请来了两位法师,教大家斩妖除魔之术以对付公司里的恶鬼,就这样,一行人开始了训练。为了整顿训练营内的风气,两位法师命令男女学员分开训练,如有过界则会变马变鸡。然而,血气方刚的年轻人们哪里能够自控?经过重重的努力,孟加拉等人终于打败了公司内的恶鬼,哪知道心有不甘的简天伟请来了法力更加高强的女妖助阵。
4K
孟加拉(陈百祥 饰)和罗拔(陈山河 饰)是公司里的新人,简天伟因为老板提拔自己的女儿简美芝(郭秀云 饰)为总经理而深感不满,于是请来了各路牛鬼蛇神将公司上下搅得一团糟。孟加拉暗恋着简美芝,而罗拔亦喜欢着女职员叶灵(邱淑贞 饰),两人为了爱人心甘情愿的留了下来。   公司主任请来了两位法师,教大家斩妖除魔之术以对付公司里的恶鬼,就这样,一行人开始了训练。为了整顿训练营内的风气,两位法师命令男女学员分开训练,如有过界则会变马变鸡。然而,血气方刚的年轻人们哪里能够自控?经过重重的努力,孟加拉等人终于打败了公司内的恶鬼,哪知道心有不甘的简天伟请来了法力更加高强的女妖助阵。
4K
中国香港 玉楼三凤 作家彭梅芬与徐曼丽、赵淑娴同往一屋,情如姊妹。娴数年前遭前夫陆飞鸿抛弃,独力照顾卧病在医院的儿子;鸿浪子回头,娴坚拒复合。丽倾慕新加坡笔友郑大江,对追求者李家华不瞅不睬。江抵港后,爱的是芬;芬却是曾经苍海,竭力回避。芬往青山小住,江、丽、华先后为所爱的人追往青山。芬终为江打动,丽目睹二人拥吻,疾奔而去时给华的车子撞倒。各人在医院碰头,丽终接受华,娴亦为了儿子原谅鸿。
1080P
作家彭梅芬与徐曼丽、赵淑娴同往一屋,情如姊妹。娴数年前遭前夫陆飞鸿抛弃,独力照顾卧病在医院的儿子;鸿浪子回头,娴坚拒复合。丽倾慕新加坡笔友郑大江,对追求者李家华不瞅不睬。江抵港后,爱的是芬;芬却是曾经苍海,竭力回避。芬往青山小住,江、丽、华先后为所爱的人追往青山。芬终为江打动,丽目睹二人拥吻,疾奔而去时给华的车子撞倒。各人在医院碰头,丽终接受华,娴亦为了儿子原谅鸿。
1080P
新西兰 布罗肯伍德疑案第三季 Detective Inspector Mike Shepherd, is good at his job but bad at making labor relations, when it comes to the city of "Brokenwood" to solve a crime falls in love with him and decides to stay, but soon Shepherd begins to collide with Kristin detective Sims.
720P
Detective Inspector Mike Shepherd, is good at his job but bad at making labor relations, when it comes to the city of "Brokenwood" to solve a crime falls in love with him and decides to stay, but soon Shepherd begins to collide with Kristin detective Sims.
720P
美国 暴力监狱第四季
270P
中国台湾 霹雳英雄榜之风起云涌二 才重出江湖没多久的金小开为了替祖父叶小钗取得新刀剑,於是听从半花容的建议,分别前往火灵脉与香山落日头,取得「神剑」、「刁刀」,没想到却因此害死了剑神穷八极之子;为了报杀子之仇,穷八极不仅手刃金小开,就连其妻自在天女也遭其追杀,虽有潇潇多次护航,但自在仍在疲於奔命下,产下小开之子,随後香消玉殒,锺情自在的潇潇为了与佳人同在,不惜震塌雨风飘摇,和自在一起埋葬。素还真为铲除乱世祸首邪神,费心取得神剑,联合了云门的佾云、韶云、曲云、瑟云以及半花容,共同诛杀邪神,最後邪神虽然顺利被诛,但韶云、曲云、瑟云因为伤重,不幸被半花容有机可乘而杀之。佾云为报同门之仇,与半花容相约在拂水楼决一死战。   第1集-风起云涌Ⅱ 第2集-六月·冰风·不二刀 第3集-飞雁 霄 第4集-魔影 第5集-风雨断肠时 第6集-愁云仇云 第7集-美人心·英雄情 第8集-魔源 第9集-坎坷情路 ...
超清
才重出江湖没多久的金小开为了替祖父叶小钗取得新刀剑,於是听从半花容的建议,分别前往火灵脉与香山落日头,取得「神剑」、「刁刀」,没想到却因此害死了剑神穷八极之子;为了报杀子之仇,穷八极不仅手刃金小开,就连其妻自在天女也遭其追杀,虽有潇潇多次护航,但自在仍在疲於奔命下,产下小开之子,随後香消玉殒,锺情自在的潇潇为了与佳人同在,不惜震塌雨风飘摇,和自在一起埋葬。素还真为铲除乱世祸首邪神,费心取得神剑,联合了云门的佾云、韶云、曲云、瑟云以及半花容,共同诛杀邪神,最後邪神虽然顺利被诛,但韶云、曲云、瑟云因为伤重,不幸被半花容有机可乘而杀之。佾云为报同门之仇,与半花容相约在拂水楼决一死战。   第1集-风起云涌Ⅱ 第2集-六月·冰风·不二刀 第3集-飞雁 霄 第4集-魔影 第5集-风雨断肠时 第6集-愁云仇云 第7集-美人心·英雄情 第8集-魔源 第9集-坎坷情路 ...
超清
德国 小鬼开球 小男孩莫里兹热爱足球,但由于父母离异,他不得不远离家乡,跟随对足球毫无感觉的母亲一起搬到了新的城市。在这里,莫里兹结识了在街头踢球的热情的新朋友们,穆罕默德兄弟、埃内、基什和有些怪异的亚历克斯,以及马克的妹妹卡特里娜。他们组织了自己的球队......
720P
小男孩莫里兹热爱足球,但由于父母离异,他不得不远离家乡,跟随对足球毫无感觉的母亲一起搬到了新的城市。在这里,莫里兹结识了在街头踢球的热情的新朋友们,穆罕默德兄弟、埃内、基什和有些怪异的亚历克斯,以及马克的妹妹卡特里娜。他们组织了自己的球队......
720P
中国大陆 新妈妈,再爱我一次 暂无简介
超清
暂无简介
超清
中国大陆 昆仑之下 暂无简介
1080P
暂无简介
1080P