Crow
搜索"Crow" ，找到 以下影视作品
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亚当·格林
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Tenyearsaftertheeventsoftheoriginalmovie,VictorCrowleyismistakenlyresurrectedandproceedstokilloncemore.
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Norm,thenewlycrownedpolarbearkingofthearctic,mustsaveNewYorkCityandhishome.ButNormgoesfromherotovillainwhenhe'sframedforacrimehedidn'tcommit.Hemustworkwithhisfriendstoclearhisgoodnameandhelpsavehiskingdominawinner-take-allhockeymatch
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扎克·施奈德
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悠远的宇宙深处,跟着氪星的消灭,超人的传奇故事拉开尾声。氪星人乔·艾尔（罗素·克劳 Russell Crowe 饰）抵逝世对抗佐德将军（迈克尔·珊农 Michael Shannon 饰）的罪恶筹划,冒险将刚出身未多少的儿子卡尔·艾尔被送到星河系另一边的地球。卡尔下降在美国堪萨斯一座小镇,他荣幸地成为乔纳森·肯特（凯文·科斯特纳 Kevin Costner 饰）跟玛莎（黛安·莲恩 Diane Lane 饰）的养子,而且得名克拉克。克拉克从小露出出差别凡响的才能与特点,但这些带给他惊奇的同时还无数不清的烦忙。经由过程养父的引诱,克拉克（亨利·卡维尔 Henry Cavill 饰）渐渐弄清本人的出身以及所负担的任务。终于有一天,悠远的家乡“同胞”光临。 站在家乡与地球!罪恶与公理的两头,超人行将面对严重的决定……
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泰勒·海克福德
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工程师彼特（大卫·摩斯 David Morse 饰）被武装分子绑架，罪犯要求彼特的雇主支付六百万美元的赎金，面对数额如此巨大的赎金，皮特的雇主回绝了绑匪的要求，保险公司亦采取了回避的态度。丈夫遭遇如此不幸，四处求助无门的爱丽丝（梅格·瑞恩 Meg Ryan 饰）最终找到了谈判专家特瑞（罗素·克劳 Russell Crowe 饰），这也是她能够找到的最后一根救命稻草。 在和绑匪谈判的过程中，特瑞发现整个绑架事件并没有他所想象的那么简单，与此同时，常年在婚姻中遇冷的爱丽丝对于稳重可靠的特瑞产生了真挚的感情。最后的期限眼看着就要到来，特瑞能够顺利的营救出彼特吗？他和爱丽丝之间的感情又是否能够有一个圆满的结局呢？
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雷德利·斯科特
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故事产生在景色引人醉的法国普罗旺斯。伦敦证券师麦克斯（罗素·克劳 Russell Crowe 饰）作为遗产继续人的身份离开这里,固然奇迹堕入低谷,但过世的叔叔留下的一大片葡萄园跟一幢大屋子,充足他卖出后掉掉落一笔可不雅的收入。 他在这里住下的时期,与外地一个咖啡店男子芳妮（玛丽昂·歌迪亚 Marion Cotillard 饰）相谈甚欢。本来,童年时间芳妮已经是麦克斯前来叔叔家时的玩伴。芳妮为麦克斯翻开了一扇大门,让他重拾渐忘的旧事,不再满头脑都是数字跟款项的游戏。麦克斯让心灵在这片俏丽的地皮上纵情呼吸,以往为名为利的生涯垂垂退去。这时,叔叔的私生女（艾比·考尼什 Abbie Cornish 饰）从加州前来拜访,而且有着明白的目标：掉掉落葡萄园的继续权,麦克斯刚镇静上去的生涯能否又开端了名争冷战,抑或在普罗旺斯这个美妙的处所,美妙的日子每天演出！
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道格拉斯·麦金农
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第二季将探索原著以外的故事情节，Aziraphale（麦克·辛MichaelSheen饰），一位爱挑剔的天使兼珍本书商，与随性恶魔Crowley（大卫·田纳特DavidTennant饰）之间难以言喻的友谊。随着末世被成功阻挠，这对搭档在伦敦苏豪区的凡人中重新过上了轻松的生活。这样的生活一直持续到大天使Gabriel意外出现在Aziraphale的书店门口，他不记得自己是谁，也不记得是怎么来的。虽然Crowley对大天使为什么来书店持怀疑态度，但Aziraphale热衷于解开加Gabriel现状背后的谜团。然而，把一位大天使隐藏在天堂和地狱之外的行为，很快就以意想不到的方式扰乱了他们的生活。为了解开这个谜团，并在此过程中挫败天堂和地狱，两人需要的不仅仅是奇迹，还需要再次依赖彼此。第二季的谜团将带观众从世界起初去到圣经时代，从维多利亚时代...
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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
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Talent and passion for music can take one to the very top. On the way, however, there are going to be showbiz traps. There is money, fame and fan crowds in册ved. Will a young girl be able to fight for her dreams in this no-holds-barred world where fame is so elusive? A controversial talent show called "Music Race" keeps looking for talented singers all over the country. The decision on who will be started-up for a career and who will get a cold shower is always up to the three jurors: a once-popular singer, Olo (Maciej Zakoscielny), social media queen, Ewa (Julia Kaminska), and the dame of Polish jazz, Urszula Dudziak (playing herself). During an audition held in Olo's home town, there is a row. The person who starts it is "Ostra" (played by Katarzyna Sawczuk). The rebel teen is outraged by the juror's arrogant and dismissive behaviour towards her mother (Anita Sokolowska). The small scandal suits the show's producer (Tomasz Karolak), who pushes "Ostra" through to the next stage. There, it will turn out that the girl doesn't just have a fiery temper, but a great voice as well. Success, though, comes at a price. Being popular is not as pleasant as many people think. Our teenage hero will have to face a genuine test of integrity and character. The young star is about to take on her stage competition, the ruthless world of show business, and, most importantly, her own feelings.
