Ew
搜索"Ew" ，找到 1695部影视作品
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Nick Gillam-Smith
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现如今，很少有哪个人的衣橱所受到的关注可与英国王室相提并论。几乎每日都盗墓笔记重启之极海听雷在线观看有新闻评论王室成员衣着。大众对王室衣橱的窥探由来已久，在本片中，主持人将大开皇家衣橱之门，尽览古今国王与王后的华服美裳。王室服饰的魅力不仅在于其剪裁和色彩它们超越了纯粹的服饰 成为一种象征或表达。
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盖·里奇
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大侦探福尔摩斯（小罗伯特·唐尼 Robert Downer Jr. 饰）即使在置人于死地之时也异常的逻辑清晰，然而办案时有条不紊的他在私底下的生活中简直就是个“怪胎”，至少在他的助手华生医生（裘德·洛 Jude Law饰）眼中他是这样一个人。他们亲手绳之以法的“黑暗巫师”布莱克大人（马克·斯特朗 Mar色农夫网站导航大全k Strong 饰）在临死前说死亡即是开始，随后艾琳·艾德勒（瑞秋·麦克亚当斯 Rachel McAdams 饰）出现在他的身边要他帮忙找个失踪的人，而她身边有个影子般可怕人物。坊间传说黑暗巫师已经复活，他的墓地遭到破坏，而躺在棺材里的人另有其人。又到了大侦探福尔摩斯出马的时候了，然而调查过程从一开始就险象环生，助手华生医生在调查中更是险些丧命，福尔摩斯也陷入连串的迷团之中。 本片根据著名同名漫画改编，作者莱昂纳尔·威格拉姆（Lionel Wigram）。2010年忘忧草在线影院第82届奥斯卡最佳艺术指导、最佳配乐2项提名、第67届金球奖音乐/喜剧类最佳男主角Robert Downey Jr.
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Andrew Beall,Frank Molieri
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幸福是什么？Linus说，幸福是那条哪怕破了、潮了，也依然美丽的蓝色毛毯； Lucy说，幸福是温柔的凝视着弹钢琴的男孩，哪怕他眼里只有贝多芬；Snoopy说，幸福是躺在红色小木屋上，睡到自然醒。 Linus的幸福之源——毛毯总是和Linus如影随形。Linus有多喜欢这条毛毯，其他伙伴就有多希望这条毛毯消失。于是Linus的姐姐Lucy骗他说，如果不改掉这个毛病，不久要来的奶奶就会亲自处理他。这句话让Linus听的瑟瑟发抖。于是在小伙伴的帮忙或捣乱的情况下，Linus开始了这场遗忘毛毯之旅。但分别总是令人格外痛苦，伤心的Linus只想告诉大家：我帐中娇妾只是需要我的毛毯，这有错吗。
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扬·科马萨
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在华沙起义爆发前不久，一群当地的年轻人加入了地下组织，不仅是为了履行爱国 义务，同时也开启了一段青春冒险，可以跟同龄人吹嘘还可以吸引女孩子。在替身情郎地下组织培训时，他们边调情、炫耀，边制订计划，殊不知接下来的那个夏天将是他们生命的考验，而历史已经为他们做好了计划。 他们成为华沙起义综合精品欧美日韩在线观看战斗中最为勇敢的组织之一，共同见证了牺牲精神和英雄气概，也看见了残忍、背叛与谋杀；他们懂得了爱，也体会了什么叫仇恨。尽管他们不情愿，历史还是在他们成熟的过程中，给他们上了血腥残酷的一课……
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Andrew Downes,蒂姆·尼尔
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第一集：最后的自由 苏格兰的形成；以及之后苏格兰人在“布鲁南伯尔战役”（BattleofBrunanburh）中的历史作用，威塞克斯王朝的阿特尔斯坦（Athelstan）在此役中击败以苏格兰王康斯坦丁二xl上司全集翻译世（ConstantineIIofScotland）为首的联军，之后自称“不列颠大王”，从而奠定了不列颠的雏形。 第二集：苏格兰之锤 苏格兰历史上两位杰出人物亚历山大二世（AlexanderII）与威廉·华莱士（WilliamWallace），锤炼了苏格兰的民族意识，将盖尔人的古国塑造成了苏格兰。 第三集：主教成就国王 苏格兰国王罗伯特一世（RoberttheBruce，1306-1329在位）为苏格兰独立而奋斗，苏格兰的教会也在国内外展开宣传攻势。最终1320年的《阿布罗斯宣言》（DeclarationofArbroathkkrrr）促使教皇承认了苏格兰作为独立国家的地位。 第四集：语言就是力量 盖尔人和盖尔语曾经是苏格兰人民族认同的核心，但是一场家族争斗造成了众所周知的“高地”与“低地”的区分。15世纪斯图尔特家族（Stewartroyalfamily）的政策使盖尔人被视作外来人和叛乱者。 第五集：不列颠计划还珠之拨乱反正 斯图亚特（Stuart）王朝两位君主的野心是使曾经的宿敌合而为一并走向现代不列颠的决定性力量。苏格兰玛丽女王还只是阴谋夺取伊丽莎白一世的王权，她的儿子詹姆士则有着更为激进的梦想。
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Matthew Wortman
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Dr. Joann美足交 Fletchers, an Egyptologist finds three abandoned mummies in a tomb in the Valley Of Kings. She thinks the third mummy is the forgotten legend, once the most powerful woman太子在御花园要了公主TXT on earth; Nefertiti. With the help of modern day technology and scientists she tries to uncover mysteries surroundin会长是女仆g the life of Nefertiti. But is the mummy really Nefertiti?
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Andrew Downes,Colin Murray,Colin Murray
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A history of Scotland is, like as the name says, about Scotland's history. The first episode takes us through how Scotland was created and why its role in one快乐大本营小沈阳2012 of the greatest wars helped define Britain in the modern era. The second episode revolves around two front figures in Scottish history, Alexander II and William Wallace, and how they shaped Scotland. Episode three takes us to Robert The Br古惑仔第6部uce and his fight for Scottish independence and how the church promoted his cause. Episode four takes us to how the Stewart's caused a divide in Scotland between the Highlands and the Lowlands. And episode five revolves around the unification of Scotland and Britain during the reign of Mary Queen Of Scots.
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亚历山大·福特
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影片表现西欧running man20161225封建主为了掠夺和侵略土地而发动十字军远征，企图打着宗教的旗帜残害波兰人民和波兰骑士。该片场面宏伟，出演演员甚多，动用了大量的人力和财力。导老子影院在线理论片演的手法大刀阔斧，表现了很高的艺术性。影片主要反映十字军在波兰惨绝人寰的种种暴行。影片主题鲜明，富有爱国主义精神，是战后波兰观众人数最多的一部影片。
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迈克·米尔斯
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父亲（克里斯托弗•普卢默 Christopher Plummer 饰）的离世给奥92看看福利午夜影院利弗（伊万•麦克格雷格 Ewan McGregor 饰）造成了很深的影响。工作上出现瓶颈，对人际交流感到疲惫，遇到心仪的姑娘也无法放开束缚。在父亲不在的日子里，总会不时的回想起开始发生变化的那一天。母亲去世后的某一日，父亲把奥利弗招到跟前，跟他说了两件事。一是他得了癌症；二是他宣布出柜了。奥利弗起初吃惊不已，难以承受。但在父亲治疗的过程中，看到他和他的同性恋人相处融洽，看到父亲重新绽 风花雪月 无删减在线观看放活力和生机，奥利弗的心也在慢慢得到治愈。父亲虽已离去，但其影响仍在，尤其是对奥利弗处世态度的影响和改变。这些指引着当下的他变得勇敢，在人与人相处的过程中，所有人都只是初学者而已。 影片改编自导演和其父亲的真实故事。饰演父亲一角的克里斯托弗•普卢默获得了第69届金球奖最佳男配角奖以及第84届奥斯卡最佳男配角奖。
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帕特·普罗夫特
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一次演奏会上，小提琴家瑞安（莱斯利•尼尔森 Leslie Nielsen 饰）邂逅了美艳妇人劳伦（凯丽•勒布克 Kelly LeBrock 饰），劳伦对他大抛媚眼，吓得瑞安不知所措。联合国秘书长罗伯特将到哥伦比亚作反恐演讲，劳海贼王漫画 风之漫画伦的丈夫希宾负责安排一切。这天瑞安收到了劳伦的邀请，并注明如果他不前来她将自杀。揣揣不安的瑞安如约来到了劳伦的别墅，却发现希宾早已倒地身亡。突然，一名独眼独臂独腿的男人出现将瑞安击晕了。 当瑞安醒来后，他已被警察抓了起来，荒谬的是，瑞安谋杀希宾的罪名成立了。尽管他一再分辩，但他还是被押往监狱。途中囚车意外翻下了山崖，大难不死的瑞安开始了亡命天涯，他一方面要逃避追捕，一方面要设法找证据还自己一个清白！
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维托尔德·莱斯辛斯基
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科兹鲁克（克兹佐夫·马扎克 Krzysztof Majchrzak 饰）是一名平凡的农夫，每天过着循规蹈矩的生活。一天，村里来了一名美丽的女教师海德琦亚（Anna Seniukwww色小姐 com 饰），原来，政府为了能够普及教育，打算在村里建造一间小学。海德琦亚的与众不同瞬间就吸引了科兹鲁克的注意，更糟的是，村长将海德琦亚安排到了科兹鲁克家暂住，这让科兹鲁克整天都生活在想入非非之中。
海德琦亚和村里的邮递员交往甚密，这让科兹鲁克感到非常的不是滋味，嫉妒如同火焰一般灼烧着他的内心。几个月之后，海德琦亚决定返回城里，此时的她已经和当地的居民们结下了深厚的友谊，所有人都舍不得她，其中也包括科兹鲁克。
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斯坦尼斯拉夫·罗泽维格
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In 1961, Stanislaw Rozewicz created the novella film "Birth Certificate" in cooperation with his brother, Taduesz Rozewicz as screenwriter. Such brother tandems are rare in the history of film but aside from family ties, Stanislaw (born in 1924) and Taduesz (born in 1921) were mutually bound by their love for the cinema. They were born and grew up in Radomsk, a small town which had "its madmen and its saints" and most importanly, the "Kinema" cinema, as Stanislaw recalls: for him cinema is "heaven, the whole world, enchantment". Tadeusz says he considers cinema both a charming market stall and a mysterious temple. "All this savage land has always attracted and fascinated me," he says. "I am devoured by cinema and I devour cinema; I'm a cinema eater." But Taduesz Rozewicz, an eminent writer, admits this unique form of cooperation was a problem to him: "It is the presence of the other person not only in the process of writing, but at its very core, which is inserperable for me from absolute solitude." Some scenes the brothers wrote together; others were created by the writer himself, following discussions with the director. But from the perspective of time, it is "Birth Certificate", rather than "Echo" or "The Wicked Gate", that Taduesz describes as his most intimate film. This is understandable. The tradgey from September 1939 in Poland was for the Rozewicz brothers their personal "birth certificate". When working on the film, the director said "This time it is all about shaking off, getting rid of the psychological burden which the war was for all of us. ... Cooperation with my brother was in this case easier, as we share many war memories. We wanted to show to adult viewers a picture of war as seen by a child. ... In reality, it is the adults who created the real world of massacres. Children beheld the horrors coming back to life, exhumed from underneath the ground, overwhelming the earth." The principle of composition of "Birth Certificate" is not obvious. When watching a novella film, we tend to think in terms of traditional theatre. We expect that a miniature story will finish with a sharp point; the three film novellas in Rozewicz's work lack this feature. We do not know what will be happen to the boy making his alone through the forest towards the end of "On the Road". We do not know whether in "Letter from the Camp", the help offered by the small heroes to a Soviet prisoner will rescue him from the unknown fate of his compatriots. The fate of the Jewish girl from "Drop of Blood" is also unclear. Will she keep her new impersonation as "Mary爱神之手sia Malinowska"? Or will the Nazis make her into a representative of the "Nordic race"? Those questions were asked by the director for a reason. He preceived war as chaos and perdition, and not as linear history that could be reflected in a plot. Although "Birth Certificate" is saturated with moral content, it does not aim to be a morality play. But with the immense pressure of reality, no varient of fate should be excluded. This approached can be compared wth Krzysztof Kieslowski's "Blind Chance" 25 years later, which pictured dramatic choices of a different era. The film novella "On the Road" has a very sparing plot, but it drew special attention of the reviewers. The ominating overtone of the war films created by the Polish Film School at that time should be kept in mind. Mainly owing to Wajda, those films dealt with romantic heritage. They were permeated with pathos, bitterness, and irony. Rozewicz is an extraordinary artist. When narrating a story about a boy lost in a war zone, carrying some documents from the regiment office as if they were a treasure, the narrator in "On the Road" discovers rough prose where one should find poetry. And suddenly, the irrational touches this rather tame world. The boy, who until that moment resembled a Polish version of the Good Soldier Schweik, sets off, like Don Quixote, for his first and last battle. A critic described it as "an absurd gesture and someone else could surely use it to criticise the Polish style of dying. ... But the Rozewicz brothers do no accuse: they only compose an elegy for the picturesque peasant-soldier, probably the most important veteran of the Polish war of 1939-1945." "Birth Certificate" is not a lofty statement about national imponderabilia. The film reveals a plebeian perspective which Aleksander Jackieqicz once contrasted with those "lyrical lamentations" inherent in the Kordian tradition. However, a historical overview of Rozewicz's work shows that the distinctive style does not signify a fundamental difference in illustrating the Polish September. Just as the memorable scene from Wajda's "Lotna" was in fact an expression of desperation and distress, the same emotions permeate the final scene of "Birth Certificate". These are not ideological concepts, though once described as such and fervently debated, but rather psychological creations. In this specific case, observes Witold Zalewski, it is not about manifesting knightly pride, but about a gesture of a simple man who does not agree to be enslaved. The novella "Drop of Blood" is, with Aleksander Ford's "Border Street", one of the first narrations of the fate of the Polish Jews during the Nazi occupation. The story about a girl literally looking for her place on earth has a dramatic dimension. Especially in the age of today's journalistic disputes, often manipulative, lacking in empathy and imbued with bad will, Rozewicz's story from the past shocks with its authenticity. The small herione of the story is the only one who survives a German raid on her family home. Physical survial does not, however, mean a return to normality. Her frightened departure from the rubbish dump that was her hideout lead her to a ruined apartment. Her walk around it is painful because still fresh signs of life are mixed with evidence of annihilation. Help is needed, but Mirka does not know anyone in the outside world. Her subsequent attempts express the state of the fugitive's spirits - from hope and faith, moving to doubt, a sense of oppression, and thickening fear, and finally to despair. At the same time, the Jewish girl's search for refuge resembles the state of Polish society. The appearance of Mirka results in confusion, and later, trouble. This was already signalled by Rozewicz in an exceptional scene from "Letter from the Camp" in which the boy's neighbour, seeing a fugitive Russian soldier, retreats immediately, admitting that "Now, people worry only about themselves." Such embarassing excuses mask fear. During the occupation, no one feels safe. Neither social status not the aegis of a charity organisation protects against repression. We see the potential guardians of Mirka passing her back and forth a乔染厉谨言小说mong themselves. These are friendly hands but they cannot offer strong support. The story takes place on that thin line between solidarity and heroism. Solidarity arises spontaneously, but only some are capable of heroism. Help for the girl does not always result from compassion; sometimes it is based on past relations and personal ties (a neighbour of the doctor takes in the fugitive for a few days because of past friendship). Rozewicz portrays all of this in a subtle way; even the smallest gesture has significance. Take, for example, the conversation with a stranger on the train: short, as if jotted down on the margin, but so full of tension. And earlier, a peculiar examination of Polishness: the "Holy Father" prayer forced on Mirka by the village boys to check that she is not a Jew. Would not rising to the challenge mean a death sentance? Viewed after many years, "Birth Certificate" discloses yet another quality that is not present in the works of the Polish School, but is prominent in later B-class war films. This is the picture of everyday life during the war and occupation outlined in the three novellas. It harmonises with the logic of speaking about "life after life". Small heroes of Rozewicz suddenly enter the reality of war, with no experie小说山楂树之恋nce or scale with which to compare it. For them, the present is a natural extension of and at the same time a complete negation of the past. Consider the sleey small-town marketplace, through which armoured columns will shortly pass. Or meet the German motorcyclists, who look like aliens from outer space - a picture taken from an autopsy because this is how Stanislaw and Taduesz perceived the first Germans they ever met. Note the blurred silhouettes of people against a white wall who are being shot - at first they are shocking, but soon they will probably become a part of the grim landscape. In the city centre stands a prisoner camp on a sodden bog ("People perish likes flies; the bodies are transported during the night"); in the street the childern are running after a coal wagon to collect some precious pieces of fuel. There's a bustle around some food (a boy reproaches his younger brother's actions by singing: "The warrant officer's son is begging in front of the church? I'm going to tell mother!"); and the kitchen, which one evening becomes the proscenium of a real drama. And there are the symbols: a bar of chocolate forced upon a boy by a Wehrmacht soldier ("On the Road"); a pair of shoes belonging to Zbyszek's father which the boy spontaneously gives to a Russian fugitive; a priceless slice of bread, ground under the heel of a policeman in the guter ("Letters from the Camp"). As the director put it: "In every film, I communicate my own vision of the world and of the people. Only then the style follows, the defined way of experiencing things." In Birth Certificate, he adds, his approach was driven by the subject: "I attempted to create not only the texture of the document but also to add some poetic element. I know it is risky but as for the merger of documentation and poety, often hidden very deep, if only it manages to make its way onto the screen, it results in what can referred to as 'art'." After 1945, there were numerous films created in Europe that dealt with war and children, including "Somewhere in Europe" ("Valahol Europaban", 1947 by Geza Radvanyi), "Shoeshine" ("Sciescia", 1946 by Vittorio de Sica), and "Childhood of Ivan" ("Iwanowo dietstwo" by Andriej Tarkowski). Yet there were fewer than one would expect. Pursuing a subject so imbued with sentimentalism requires stylistic disipline and a special ability to manage child actors. The author of "Birth Certificate" mastered both - and it was not by chance. Stanislaw Rozewicz was always the beneficent spirit of the film milieu; he could unite people around a common goal. He emanated peace and sensitivity, which flowed to his co-workers and pupils. A film, being a group work, necessitates some form of empathy - tuning in with others. In a biographical documentary about Stanislaw Rozewicz entitled "Walking, Meeting" (1999 by Antoni Krauze), there is a beautiful scene when the director, after a few decades, meets Beata Barszczewska, who plays Mireczka in the novella "Drops of Blood". The woman falls into the arms of the elderly man. They are both moved. He wonders how many years have passed. She answers: "A few years. Not too many." And Rozewicz, with his characteristic smile says: "It is true. We spent this entire time together."
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Robert Michael Lewis
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Major Palgrave, an idiosyncratic but charming mystery writer, reveals to Miss Marple that one of the guests at a luxurious Caribbean resort they're staying at is a Bluebeard-type wife murderer. Unfortunately, the Major succumbs to an apparently accidental overdose of alcoh斗罗大陆209集在线观看ol and blood pressure medication before revealing the killer's identity. When it's discovered that th换子成龙剧情e medicine belonged to another guest and the revealing photograph the Major was carrying is missing, Miss Marple realizes that the serial killer has struck again and more murders will follow.
