搜索结果：Wei （共 204 条结果）
欲海花
导演： 叶庆辉
语言：汉语普通话 / 粤语
主演： 陈颖芝KarManWai吴少雄卫加文谷峰猛丁哥金彪韩国材洪
简介：沙奇是風度翩翩的紳士,暗中從事走私販毒及軍火買賣之不法勾當,在一次黑吃黑的拚殺後,沙其與杜老闆勢不兩立.夜總會艷星羅娜遇舊識男友李浩,舊情復熾,但羅娜似有隱憂,因被沙奇控制,成為犯罪工具,李浩欲帶羅娜`遠走高飛,遭沙奇手下抓回,李浩痛不欲生.其後李浩喝酒消愁認識美琳,美琳深富正義感,且對李浩一見鍾情,答應相助.美琳在夜總會跳艷舞,欲搜查證物,不料被識破,李浩遭毒打,而美琳遭沙奇強暴.事後,沙奇欲殺二人滅口,此時杜老闆正好前來尋仇,火拚中,李浩與美琳趁機逃脫.杜老闆被殲殺,李浩與美琳深入虎穴欲救出羅娜,千鈎一髲之際,警方飛馳而至,將沙奇這邦罪犯一綱打盡....
禁止性爱：甜蜜的复仇
语言：韩语
主演：
简介：<p> “Shall we go on a trip?” Jin-wook and So-ri couple have been dating for 6 years. So-ri randomly suggests that they should go on a trip along with her best friend Mi-ra and her boyfriend. It is because she promised with Mi-ra before that the four should go on a trip together once Mi-ra has a boyfriend. Jin-wook does not feel comfortable with her plan because he has not been inte...</p>...
我们是你的朋友
导演： 麦克斯·约瑟夫
语言：英语
主演： 扎克·埃夫隆艾米丽·拉塔科斯基希罗·弗南德兹亚历克斯·沙弗尔乔尼·维斯顿韦斯·本特利乔·博恩瑟瓦妮萨·洛金斯艾丽莎·科波拉莫莉·哈根瑞贝卡·福斯蒂
简介：科尔（扎克·埃夫隆 Zac Efron 饰）从小就立志成为一名音乐制作人，如今，他是一名电音DJ，很显然，科尔正在凭借着自己的努力，一步一步的向着梦想迈进。DJ詹姆斯（韦斯·本特利 Wes Bentley 饰）亦曾经有过一段和科尔相似的青涩岁月，他迷惘过，放纵过，狂妄过，在经历了挫折和困难的洗礼之后，詹姆斯终于成为了一名成功的音乐人，拥有了科尔幻想着能够拥有的一切。命运让科尔和詹姆斯相遇了，仿佛是开玩笑一般，上帝又将一位名叫苏菲（艾米丽·拉塔科夫斯基 Emily Ratajkowski 饰）的美丽女孩放到了两人的身边。毫无疑问地，科尔和詹姆斯同时爱上了温柔善良的苏菲，与此同时，当科尔渐渐深入音乐界，才发现这里的一切是如此的复杂和陌生。©豆瓣...
车库惊魂
语言：英语
简介：<p>圣诞前夜，虽然家人热切地期盼，但美丽干练的女律师安吉拉（瑞秋·尼科尔斯Rachel Nichols 饰）仍在办公室努力工作，进行最后的冲刺。繁冗的工作终至尾声，安吉拉独自下到地下车库，准备驱车回家。不过她的车无论如何也发动不了，车库电梯门也被锁住，于是她只好向保安托马斯（韦斯·本特利 Wes Bentley 饰）求助。托马斯友善恭敬，热情施以援手，却不知其心中藏着怎样的黑暗念头。写字楼大门紧锁，致使准备乘计程车回家的安吉拉在此返回保安室求助托马斯。时机业已成熟，托马斯露出狰狞面目，他绑架了安吉拉，强迫她参加自己的圣诞晚宴。这个爱慕安吉拉的小男人，给安吉拉带来一个宛如噩梦般的圣诞节……©豆瓣</p>...
镜子的另一面：纽波特民歌艺术节1963~1965
语言：英语
主演： BobDylanJoanBaezJudyCollins
简介："Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s....
