剧情简介
线亚When star high school quarterback AJ Montoya breaks his hand his only hope is to team up with his longtime rivals, the cross country team--a group of nerds and misfits with potential for high school glory.
线亚洲大片
线亚When star high school quarterback AJ Montoya breaks his hand his only hope is to team up with his longtime rivals, the cross country team--a group of nerds and misfits with potential for high school glory.
孙烨
回复 :南方海洋石油公司与某外国石油公司共同开发南海石油，梁海、郑大潮一批钻井工人登上海豚号平台，给外国老板打工，梁海与公司翻译沈晴相识，并产生好感。郑大潮因替工友韩大可打抱不平，被炒了工作，后又回到平台工作。台风到来之际，梁海、平台总监安德森让郑大潮领众人撤退，他们坚守在岗位上，最终英勇牺性，郑大潮和战友们含泪纪念海上的英灵，一场新的向海洋石油的进军开始了
许飞
回复 :男主角雷蒙表面上是小镇的玩具店老板，实际上却是国家的超级特务。为了执行任务，他经常在世界各地飞来飞去，因此而错过儿子的棒球比赛，甚至见不到妻子的最后一面。然而，不管雷蒙怎么隐瞒他的真实身份，仇家还是找上门来，并且让他变成了阶下囚。唯一能挽救他的人，只有当时在场目睹一切的儿子。本片的故事架构跟阿诺主演的《魔鬼大帝：真实诺言》有点雷同，但制作规模和娱乐效果均相差甚多，职业摔角高手库克霍根饰演这名有口难言特务父亲，企图在这部家庭片中展现亲和力，可惜导演约翰．莫洛斯基拍不出效果。
昊天
回复 :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.
