Reg

故事讲述在一个威权体制（anauthoritarianregime）逐渐瓦解的府邸（thepalace）内，一年时间里发生的事情。

JoshHartnett将主演Sky的小说改编剧《恐慌指数TheFearIndex》，在剧中他会饰演美国侨民的物理学家-AlexHoffmann博士，他发明了一个可以利用金融市场恐慌时那一瞬间的漏洞来赚大钱的AI系统。但在系统正式运行当天，Alex的家被一个知道他所有安保密码的人所入侵，而且后来发生的一连串奇怪事件，令主角发现自己被陷害了。其他主演包括LeilaFarzad﹑ArsherAli及GrégoryMontel，全剧共4集。

　　Yiannis doesn’t have much going for him, save for his adorable dog, Jimi, and his fast-approaching date to get out of Cyprus for good. But when Jimi wanders across the U.N. buffer zone and into the section of the island Turkey seized more than forty years ago, an unregulated state unrecognized by the rest of the world, Yiannis learns, bringing a dog back over the border is not as easy as walking straight home. He enlists a mismatched band of accomplices from every side of the Cyprus dispute to find a way to get Jimi back, while never leaving the land he calls home.　　Writer and director Marios Piperides has been producing films in Cyprus for more than a decade, and his inside knowledge pays dividends in this narrative feature debut—a whip-smart comedy on legality, disputed nationality, and the frameworks that are erected to maintain a fragile peace. He demonstrates his compassion for locals on both sides of the divide, as he tenderly captures their struggle to find hope and make a living in a divided land. Such serious themes pair perfectly with Piperides’s sense of humor: As Yiannis’s efforts dip farther into absurdity, they offer a send-up of the forces that prolong a conflict that has been poorly understood and largely forgotten by the outside world.

Starz过去宣布拍摄《白王后TheWhiteQueen》及《白公主TheWhitePrincess》的姐妹篇限定剧《西班牙公主TheSpanishPrincess》，由CharlotteHope饰演女主角。该剧根据PhilippaGregory所著的小说《TheConstantPrincess》及《TheKing’sCurse》改编，现定于美国时间5月8日首播。《西班牙公主》主角为「亚拉冈的凯瑟琳」（CatherineofAragon，CharlotteHope饰演），漂亮﹑聪明﹑出身自西班牙王室的她因为政治婚姻下，带着摩尔人女官Lina来到英国并嫁给威尔士王子亚瑟，女主亦因此成了威尔士王妃，然而二人尚未洞房亚瑟就因病去世。亚拉冈的凯瑟琳声称自己尚为处女，而如果上一段婚姻能判定为无效，那她就可以嫁给亨利七世的次子亨利（未来他继任为亨利八世）。其他主演包括StephanieLevi-John﹑NadiaParkes﹑AaronCobham﹑AngusImrie﹑DameHarrietWalter﹑LauraCarmichael﹑RuairiO’Connor﹑GeorgieHenley﹑ElliotCowan﹑AlexandraMoen﹑PhilipCumbus﹑AlanMcKenna。

SteveMcQueen的下一部片将继续和制片公司NewRegency合作，根据80年代英国迷你剧集Widows改编犯罪抢劫电影，主角是四个死去的抢劫犯的遗孀，她们会完成丈夫未完成的抢劫，前期筹备将会在年前完成。

Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).　　The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.　　Roger Philip Mellor

A spoiled schoolgirl runs away from home, gets pregnant while hitchhiking, and ends up as a fashion model for a pair of beauticians who like to photograph women committing crimes.

Following the crisis in Ukraine and Russia’s involvement in Syria, the world is closer to super power confrontation than at any time since the end of the Cold War. Now a committee of senior former British military and diplomatic figures comes together to war game a hypothetical ‘hot war’ in Eastern Europe, including the unthinkable - nuclear confrontation. The War Room faces a scenario that has haunted western strategists since civil war broke out in Ukraine potential Russian military involvement in the Baltic States of Latvia and Estonia. Like Ukraine these countries have sizable Russian speaking minorities, but unlike Ukraine they are members of NATO, whose founding treaty states that an attack on one ally is an attack on all of them. Because of this, western analysts regularly war game a situation where Russia seeks to exploit ethnic tensions in the Baltic and test the strength of the NATO Alliance.

Constantlyonthehuntandsufferingfromhallucinationsthatdrivehisviolentnature,anunnamedmaniscapturingwomenandsavagelybeatingthemtodeath.Meanwhile,awomanisluringmenintoaviolentend,bywayofherknife.Drivenbythesameforcetomaketheoppositesexsuffer,thekillers’fatesintertwine.Thetwomustfaceoffinabattletothedeath,inwhichtheyareforcedtorevealthehorribletruthbehindtheiraddictiontomurder.“Brutal”takesaninterestingapproachtoitsvisuals,drawingheavyinfluencefromWestern“Grindhouse”films,usingafiltertomakethefootageappeargrainy,damaged,andwithlightandcolorfluctuations.Unfortunately,thevisualstylingendsupfeelingmisguided,asotherthanapplyingthefilteritdoesnotimitateanyotheraspectsofthe“Grindhouse”genre.Despitetryingtodirtyupthefilm,itisapparentitwasshotondigital.Thecinematographyisalsoastepabovemost“Grindhouse”productions,withTakashiHiroseprovinghehastalentbehindthecamera.Exteriorshotstothosetakingplaceinsmallspacesareallcompetentlyframed,lit,andtransitionwell.Thedecisiontoaddaneffectontopoftheworkhurtsthefilm’simageryandevengivesasenseofdesperationtotrytocaptureacertaintypeofnostalgiawiththeaudience,insteadofrelyingonitsownstrengths.Itisunfortunatewhenonecreativechoicecanhurtaproductionsomuch.Thestoryof“Brutal”issimplebuteffective,itdoesattemptsomesortofsocialcommentaryabouttheviolentnatureofmenandwomen,butitdoesnotofferenoughdepthintothesubjecttojustifytheamountofviolenceondisplay.Thefilmdoesendonastrongnotewithaninterestingtwist,witharevealthatisboundtogrosssomeout,whilegivingothersachuckle.Inspiteofitssimplenature,thosewhoenjoyfilmsthatmakethemsomewhatuncomfortableandenjoythechallengeofgettingthroughsomeultra-violence,“Brutal”posesafunandentertainingchallengeinthatregard.

NarratedbyQuannahChasinghorse,anadventurousjourneydowntheColoradoRiverthatexplorestheregion'sextraordinarywildlife,culturalhistory,anduncertainfuture.