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努努影院

地球百子第一季
美国英语2014
  在全球性的核战过后,仅存的人类躲入空间站方舟中苟延残喘。为了保存资源,控制人口,任何触犯法律的成年人都会被处以死刑。将近一百年后,空间站氧气即将耗尽,人类面临死神的威胁。为此,包括少女克拉克(Eliza Taylor-Cotter 饰)、总理之子威尔斯(Eli Goree 饰)在内的一百名少年犯被强制送往地球,他们即使危急关头的牺牲品,也是人类最后的希望。  顺利抵达地球的年轻人急于摆脱方舟的束缚,克拉克则执意和几名同伴寻找供给,在此期间发现地球还有人类存在。另一方面,方舟内的政治局势波谲云诡,总理遇刺,代理总理凯恩(亨利·伊安·库斯克 Henry Ian Cusick 饰)蠢蠢欲动,人类的命运悬于一线……

努努影院

亲密如贼
美国英语2009
  精通算计又胆大心细的珠宝大盗凯斯·雷普利(摩根·弗里曼 Morgan Freeman 饰)在搭档维克多不幸身亡后,为了帮其还清巨额赌债,不得不接下债主尼基的一担高难度任务——窃取俄罗斯皇家彩蛋。雷普利开始四处物色搭档,一个偶然的机会他盯上了身手敏捷的街头扒手马丁(安东尼奥·班德拉斯 Antonio Banderas 饰),能说会道的雷普利很快说服了他一起加入这次任务,联手破解皇家重重防线。与此同时,维克多的女儿艾莉丝(拉妲·米契尔 Radha Mitchell 饰)意外出现,她的性感魅力使马丁沉迷,两人很快陷入热恋。然而就在雷普利和马丁闯入了戒备森严的皇家金库,准备实施盗宝计划之时,却发现警方早已在此恭候多时,而另一边,黑帮老大尼基则劫持了艾莉丝以要挟两人必须拿下彩蛋,更意想不到的是,马丁的身份也出现了巨大反转。在这千钧一发的关头,雷普利还能否成功扭转局势全身而退呢?

努努影院

拉莉萨
其它其它1980
  A loving film tribute to Russian filmmaker Larisa Shepitko, who died tragically in a car accident in 1979 at the age of 40. This documentary by her husband, Elem Klimov, includes excerpts from all of Shepitko's films, and her own voice is heard talking about her life and art.  Elem Klimov's grief-stricken elegy Larisa examines the life of his late wife—the film director Larisa Shepitko—through a series of direct-address interviews and photomontages, set against a mournful visual-musical backdrop. Typically, Klimov films his subjects (which include himself and several of Shepitko's collaborators) within a stark, snow-covered forest, its tangled web of trees standing in as metaphorical representation of a perhaps inexpressible suffering, the result of Shepitko's premature death while filming her adaptation of Valentin Rasputin's novella Farewell to Matyora. Interweaving home movie footage with sequences from Shepitko's work (Maya Bulgakova's pensive plane crash reminiscence from Wings takes on several new layers of resonance in this context), Larisa's most powerful passage is its first: accompanied by the grandiose final music cue from Shepitko's You and I, Klimov dissolves between a series of personal photographs that encompass Larisa's entire life, from birth to death. This brief symphony of sorrow anticipates the cathartic reverse-motion climax of Klimov's Come and See, though by placing the scene first within Larisa's chronology, Klimov seems to be working against catharsis. The pain is clearly fresh, the wound still festering, and Klimov wants—above all—to capture how deep misery's knife has cut.

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