Marv
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比尔·杜克
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Having witnessed his junkie father killed Russell Stevens grows up to become a policeman and make a difference. When he is offered an undercover job by Gerald Carver he accepts and begins to build a relationship with David Jason in order to get to the main dealers. However as he is forced to deal drugs and kill to keep his cover he finds the lines between cop and criminal being lost – is he a cop pretending to be a dealer or a dealer pretending to be a cop Larry (as he was then) Fishburne's first lead role was a typically dark vehicle. The story is the usual one of cop losing himself when undercover, however it manages to be more than that for most of the time. Co-written by Tolkin, who wrote The Player, this naturally has a nice cynical edge to it when it looks at the US's hypocritical approach to drug control and the political links between the street hustlers and the political high rollers who court respectability. The story does eventually settle into a traditional setting but even then it works well as a thriller. The multi-talented Bill Duke directs well with a gritty feel and a few nice touches. However several things are a bit iffy. For most of the film Fishburne's narrationvoice over is a bit like a cross between Apocalypse Now and Blade Runner – it comes across as a little too dark and heavy and also explains things like we can't figure it out ourselves. However once you get into the film it's not as big a deal. My main problem lies with the characters. Fishburne is excellent, a real model of underlying anger and violence, Goldblum is good but perhaps a little OTT on the yuppieviolence thing, but there's good support from Smith and Spin City's beautiful (and often underused – but not here) Victoria Dillard. However the two main white characters (Goldblum and Smith) are both smeared with racist insinuations – Smith appears to insult his black officers and doesn't care about the junkies, while Goldblum is fascinated about all things black and talks about them as wild beautiful beasts and loves having sex with black'. These things aren't a major problem, but with basically only two white characters in it, it's a little worrying that both are given that edge. However these are minor complaints that get lost with a good thriller. Fishburne excels and Duke delivers a story that is a good thriller but also has a jaded, subversive edge.
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Acelebrationofthenaturalwonderandpowerofnatureinourbackyard.Fromiconicplacestosecretgems,thisserieswillopenthegatewaysforalltoexplorethebreadthofthebeautyandtranquility.TheaudiencewillexperienceNorthAmerica’snaturalwonderswithitsiconicwildlifeasyouhaveneverseenthembefore.Strongstorytellinglettheaudiencediscoverthefascinatinginteractionsinwildhabitatstheythoughttheywerefamiliarwith.TheseriesisproducedbyWildstarFilmsforNationalGeographic.ExecutiveproducingalongsideBrooksareAnwarMamonandDanReesforWildstar,andDrewJonesforNationalGeographic.MylesConnollyandBenWallisserveasseriesproducers.Episodesinclude…GrandCanyonYosemiteBigBendBadlandsHawai'iVolcanoes
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恩斯特·刘别谦
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Haunted by the memory of Walter Holderlin, a soldier he killed during World War I, French musician Paul Renard (Phillips Holmes) confesses to a priest (Frank Sheridan), who grants him absolution. Using the address on a letter he found on the dead man's body, Paul then travels to Germany to find his family. As anti-French sentiment continues to permeate Germany, Dr. Holderlin (Lionel Barrymore) initially refuses to welcome Paul into his home, but changes his mind when his son's fiancée Elsa identifies him as the man who has been leaving flowers on Walter's grave. Rather than reveal the real connection between them, Paul tells the Holderlin family he was a friend of their son, who attended the same musical conservatory he did. Although the hostile townspeople and local gossips disapprove, the Holderlins befriend Paul, who finds himself falling in love with Elsa (Nancy Carroll). When she shows Paul her former fiancé's bedroom, he becomes distraught and tells her the truth. She convinces him not to confess to Walter's parents, who have embraced him as their second son, and Paul agrees to forego easing his conscience and stays with his adopted family. Dr. Holderlin presents Walter's violin to Paul, who plays it while Elsa accompanies him on the piano. The film's original title, The Man I Killed, was changed to The Fifth Commandment to avoid giving wrong impressions in the minds of the public about the character of the story. It ultimately was released as Broken Lullaby.
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InapostapocalypticNorthAmericaonefamilyfightsforsurvival.
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本片向观众们介绍了精英军校是如何选拔和锻炼完成各种特殊任务的军人的。SURVIVINGTHECUTfollowsthebestofthebesttheUSmilitaryhastoofferastheyfightforspecialoperationsmostelitestatus.FromtheproducersofDiscoveryChannelshitspecialTWOWEEKSINHELL,eachepisodegoestohellandbackasselectcandidatesarepushedtothebrinktoweedouttheweak.Thisseriesrevealshoweliteschoolsselectandshapehumanweaponstobeusedinthemostclassifiedmilitaryoperationsintheworld.Whilethetacticsandtechnologyprovideanimpressivebackdrop,thefocusisonthecandidatesconstantstruggletoovercomerelentlesspsychologicalandphysicalobstacles.Source:TheDiscoveryChannel
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Based on a true story, John Larroquette plays a hotshot executive that ends up in court over a certain charge. He is sentenced to community service. He is assigned to coach a basketball team of mentally handicap citizens. At first, he is reluctant and t
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CUCKisagrippingfly-on-thewallcharacterstudyandpsychosexualthrillertrackinganisolatedandlonelyyoungmanasheisindoctrinatedintotheonlineechochambersofAlt-Rightideologyandhate.Touchingonseveraltopicalnerves,CUCKgivesaraw,unforgivingglimpseintoadarkworldthathidesinplainsight.
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AftersurvivinganIEDexplosionincombatoverseas,ayoungsoldierwiththeArmyMotorcycleUnitismedicallydischargedwithabrokenbackandleg.Againstalloddshetrainstomakeanimpossiblecomebackasamotocrossracerinordertosupporthisfamily.
