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十三级台阶第一季
分类：日韩剧
演员：卢克·崔德威,杰拉丁妮·詹姆斯,Elarica,GllAcher,安娜·考尔德-马歇尔,ElaricaGllAcher,杰玛·琼斯
状态：
简介：这是一个关于孤独、痴迷以及迷信的故事。《十三级台阶》作者为Ruth Rendell，由Adrian Hodges（代表作：我与梦露的一周）改编，将在ITV1频道播出，共两集，每集60分钟。Mix Cellini（Luke Treadaway饰演）是个有着一段不堪过往的青年男子。由母亲独自抚养长大，Mix6岁那年差点被喝醉酒的继父杀死。而他也曾因企图用番茄酱瓶杀害妹妹而受到指控。Mix现年29岁，租住在Blaise House顶层的房间。Blaise House是位于诺丁山的一处废弃住宅，现年70多岁的老姑娘Gwendolen Chaucer（Geraldine James饰演）一生都居于此。她与外界接触极少，跟她同住的是Olive和Queenie (Gemma Jones与Anna CalderMarshall饰演)，也都是70多岁，是她这极少交际的一生中勉强称得上“朋友”的。 Mix非常地有魅力，十分轻易便令女士们为他倾倒。而Mix对两位人物也有着强大的迷恋，一位是上世纪四五十年代瑞灵顿街10号附近声名狼藉的连环杀手Reginald Christie；另一位是超模Nerissa Nash（Elarica GallAcher饰演）。Mix无时无刻不在研究着那个连环杀手，从书、杂志和网络上如饥似渴地收集有关他的信息。而对于后者，Mix是疯狂的迷恋与崇拜，到了暗中跟踪的地步。Mix游走于现实与幻想的危险边缘，当其女友Danila Kovic对Nerissa大加批评时，他却暴怒起来，内心藏匿已久的暴力冲动一下喷涌而出。冰冰字幕组新闻组翻译转载请注明出处
时间：2023-11-22 03:21:07
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伊琳娜胡斯：危险的网
分类：日韩剧
演员：AngelaKovacs,LarsBrandeby,EricEricson,MoaGammel,Angela,Kovacs,Lars,Brandeby,Dag,Malmberg,Eric,Ericson,DagMalmberg,莫娅·甘默尔,安琪·丽登,ReubenSallmander,MikaelaKnapp,FeliciaLöwerdahl,ChristofferAro,LarsBethke,MånsEllmark,JanEricson,EstherFälemark,IngaDidongHarrie
状态：
简介：一个年轻的女孩被莫名袭击并被拖上一辆货车。伊琳娜和她的同事晚到了一步，但却发现最近发生的一起绑架事件的线索。 凶手利用网络聊天室诱惑他的猎物上钩。他们顺着线索了找到了一辆火车上使用wifi信号的乘客。
时间：2023-11-22 03:18:45
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ありちゃんのパパ先生
分类：欧美剧
演员：有岛一郎,上坂堇,铃木崚汰,山本和臣,后藤邑子,石上静香,山本希望,增田俊树,小林裕介
状态：
简介：一流会社の課長である有島は、会社ではけっこう部下たちに威張る鬼課長だが、家に帰れば奥さんにまるで頭が上がらぬぐうたら亭主。そんな中年男のペーソスを有島が好演し、世のサラリーマン達に愛された番組だった。折しも、「戦後強くなったのはストッキングに女房」といった言葉が流行語になりはじめた時代とあって、有島の恐妻家ぶりが巷で大いに話題となった。なお、このころKRテレビでも『ありちゃんのおかっぱ侍』が放送されるなど、有島主演の「ありちゃんシリーズ」が茶の間の人気を独占していた。【以上、週刊TVガイド編集部・編「昭和30年代のTVガイド」（1983年、ごま書房刊）より引用】妻に先立たれた大学病院の医師一家の物語。適当に厳格で適当に放任主義のパパが奮闘。
时间：2023-11-22 03:08:23
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先生はワガママ
分类：欧美剧
演员：名取裕子,京本政树,长濑智也,松冈昌宏,上坂堇,铃木崚汰,山本和臣,后藤邑子,石上静香,山本希望,增田俊树,小林裕介
状态：
简介：* 経営不振の名門私立女子校に、男女共学をもくろむ理事長の画策によって3人の男子生徒が転校してくることとなる。女子生徒ばかりの中に突然放り込まれる羽目になった3人によって巻き起こされるドタバタを描いたコメディ。* 原作は漫画家大塚由美の漫画『シュガーなお年頃』（因みに大塚は漫画のなかで自分は原作ではなく原案であるといっている。 シュガーなお年頃という作品自体連載二回で休載、ドラマでの設定キャラストーリーが漫画は全くの別物だったため、大塚は原案を自分にする必要性があったのか？とさえいっている。だがドラマ化自体は喜んでいる）
时间：2023-11-22 03:07:48
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PreAcher
分类：日韩剧
演员：多米尼克·库珀,鲁丝·内伽,约瑟夫·吉尔根,露西·格里菲思,W·厄尔·布朗,瑞奇·马比,阿纳托尔·优素福,布莱恩·赫斯基,杰米·安妮·奥尔曼,德里克·威尔逊,戴斯敏·博格斯,伊恩·科莱蒂
状态：
简介：杰西（多米尼克·库珀 Dominic Cooper 饰）曾经是一名黑帮打手，金盆洗手之后，他回到了阔别已久的故乡，继承了父亲的教堂，成为了一名传教士。每一天，杰西都过着浑浑噩噩的生活，丝毫不将自己神圣的职业当做一回事，然而某日，前女友塔里普（鲁丝·内伽 Ruth Negga 饰）和爱尔兰吸血鬼卡西迪（约瑟夫·吉尔甘 Joseph Gilgun 饰）不请自来，彻底搅乱了杰西平静的生活。一股名为“创世”的强大力量盯上了杰西，寄宿在了他的身体之中，杰西就此拥有了能够操纵他人言行的强大力量，然而，创世亦正亦邪，甚至有可能令杰西丢掉小命，体内藏着这样一颗定时炸弹，杰西一行人踏上了寻找上帝之旅。
时间：2023-11-22 03:06:56
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热浪岛
分类：国产剧
类型：灾难
演员：潘粤明,谢宁,陈洁,刘希媛,矢野浩二,谢丽萍,JALALUDIN,SERINAREDZAWAN,AcherY
状态：25集全
简介：这是一部以2004年年末印度洋海啸为表现内容的电视剧，是我国第一部海啸灾难题材的电视剧，题材新颖，场面震撼，故事曲折，悬念丛生。该剧的主题突出了一个“爱”字，是爱与希望的颂歌。人们带着身心的疲惫，带着各自的苦恼甚至命运的绝望来到热浪岛，可是一场突如其来的灾难，却洗礼了人们的灵魂，将人们的小爱升华为大爱，小我升华为大我，种种困惑得到排解，灵魂得到升华。这是一部抒写人物命运的灾难大片。灾难没有使人类屈服，反而坚定了人们对未来的希望，和谐了人们的心灵，也使得世界各民族间的关系得到沟通，唱响了和谐世界的主旋律。该剧是一部全程境外拍摄的电视剧。该剧调动了各方面的积极因素，运用了空中航拍、海底拍摄、电脑特技等等多种现代化的拍摄手段，拍摄出恢宏逼真的大场面，真实地再现了海啸来临时惊涛烈岸、房倒屋塌、人群离散的灾难，让人真实的体验到海啸的破坏性及它的威胁，同时真实地再现了东南亚热带绮旎多姿让人惊叹的美妙风光。该剧集中了国际优秀、亚洲一流的演员参加演出，这里有中国、日本、马来西亚、新加坡演员们的合作。多国演员的加盟，使得该剧的国际化色彩更加鲜明绚丽。
时间：2023-11-22 02:55:35
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Sylvester
分类：剧情片
类型：剧情
演员：Eugen,Klöpfer,Edith,Posca,弗里达·李察,Karl,HarbAcher,EugenKlöpfer,EdithPosca,KarlHarbAcher,尤利乌斯·E·赫尔曼,RudolfBlümner
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简介：Sylvester, by the hugely underrated Lupu Pick is one of the least known films of the silent era, and unjustly so. Pick, the director of the slightly less obscure Scherben (Shattered), is almost as forgotten as this, his masterpiece... a film that without doubt, in it's time, was one of the most important of the German silent era.This great Kammerspiel is the middle entry in a trilogy written by the master screenwriter Carl Mayer (see here for a web resource for Mayer, as well as a writeup on Sylvester), all three of which were intended to fall under the directorial auspices of Pick: the first was Scherben (Shattered), the second was Sylvester (New Years Eve), and the last was Der Letzte Mann (The Last Laugh), which, as the film went into production, shifted directorial hands-- and was ultimately helmed by another of Mayer's ongoing collaborators, the great F. W. Murnau.Much has been made about the supposed innovations of Der Letzte Mann/Last Laugh: that it was the first film to be produced without interti
tles, and that it was the film to "unchain the camera" via the integration of subjective camera movements. Some attribute these innovations to Murnau completely, others give credit to Karl Freund for innovating the moving camera. Others suggest that it was within the sc ript for Letzte Mann that instructions for the moving camera can be located, and that this innovation, in this film, rests wth Mayer.As for the interti tle issue, the myth is easy to debunk: in Germany at least, one can, through exploration of chronologically preceding ti tles written by Mayer, see that this screenwriter had been seeking out this kind narrative-pictorial purity for years already by the time Letzte went into production. Hintertreppe (Backstairs, 1921, directed by Leopold Jessner, assisted by Paul Leni), Scherben (Shattered, 1921), Die Strasse (The Street, 1923, directed by Karl Grune), Sylvester (New Years Eve, 1924, Pick) all ran, in initial, domestic German release, with one-to-no interti tles. That makes Der Letzte Mann the fifth film that Mayer sc ripted for execution without interti tles.Putting aside the issue of the preceding use of moving camera by Yevgeni Bauer, Raul Walsh, Giovanni Pastrone, D.W. Griffith, etc-- the issue of who in Germany who first conceived and extensively utilized the subjective moving camera is put to rest with a simple viewing of Sylvester.Like all Carl Mayer tales-- and like Scherben before it-- Sylvester is an exceedingly simple story... it is New Years Eve, and all levels of the social strata are celebrating. Like a restless deity exploring the substance of his human creations, in all the colliding facets of their existence, the camera comes in out of the rolling waves of the void of nighttime... announcing with a single opening interti tle the insc ription from the Tower of Babel: "Go go let us go down and there confound their language, that they may not understand one another's speech."With this we move in off of the ocean, and into a city-- it is New Year's Eve and the street is a sea of revelers. Here Pick and Mayer's camera lingers for a couple of minutes before picking up the thread that constitutes the "story", to which the rest of the film is oblivious:A small family unit which runs a low-down bar on the main thoroughfare in town constitutes the central zone of the film. A husband and wife are keeping the food and drinks coming to the drunken, lower-working class revelers tossing confetti and streamers for the holiday. A baby sleeps in a carriage. Suddenly an ominous dark silhouette appears on the frosty outer side of the rear kitchen's window, and is sighted by the wife, who instantly deflates-- all her joy and enthusiasm for the coming countdown to midnight are instantly sapped.The intimate Kammerspiel which follows, triggered by the arrival of the wife's mother-in-law, is constantly orbited by the world outside. (As is typical for a Mayer film, the characters are nameless: The husband, The wife, His Mother) The camera continuously places the emotional strife of the trio of the man and his wife, and her terrible feuding with her schizoid mother-in-law, into context of the larger human universe. Intercut with their scenes of impending tragedy and near operatic gloom are shots of the oblivious streets: grand hotels with elegant appointments and well-heeled revelers in tux flowing out of limousines (welcoed through a revolving door operated by Emil Janning's spiritual predecessor), organ grinders and panhandlers with beaten faces crushedby prison time, bawdy bourgoise, flappers, rowdy laborers, streamers and confetti everywhere. Whereas most films place their characters in the center of the human universe, absorbing all the significance and spiritual gravity made available via the story, Sylvester, despite the pathos of the impending tragedy in the tiny family unit's unfolding drama, de-emphasizes the importance of the family... the narrative strains at times to disassociate itself with them, lingering for solid stretches of minutes, tracking up and down the streets, picking out stranger after stranger, settling on no one and everyone.It's via this dis/association that the power of the film multiplies, gathering the force and impact of the cruel reality of existence: a world paying lip service to the rest of itself, even in it's most awful of crises. The world spins; life goes on. I mentioned in my previous essay (li nked above) for Sylvester:I still believe that to be true. What Mayer was attempting to do here is very difficult to articulate in words... thus the opening statement from Babel. This is a film beyond language, beyond a general statement. That barrier that confounds its explanation is the same existential barrier that exists between the family unit and the world outside, which is the barrier that exists between every human heart’s lived life, and the rest of the surrounding world. To paraphrase Tom Regan in Miller’s Crossing: “Nobody really knows anybody—not that well.” 时间：2023-11-22 02:16:58
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LadyLike
分类：喜剧片
演员：斯蒂芬妮·辛巴里,阿莉·加莱拉尼,比佛莉·德安姬罗,Zak,Steiner,ZakSteiner,奥莉维亚·卢卡尔迪,MaddieMcGuire,CorinneMestemAcher,NickClark,SarahMoliski,布莱恩·威勒斯
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简介：When a quick-witted but co-dependent college girl helps her best friend land a boyfriend, she's left on the outside looking in and is forced to deal with the realities of adulthood for the first time.
时间：2023-11-22 02:14:45
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