剧情片剧情
(人评分)
主演:周韦彤,迟漠寒,李祥祥
类型:剧情
上映:2019更新时间:2023-12-15 22:02:33
剧情:《爱情日记》讲述的是酒吧美女老板唐菲菲（周韦彤 饰），一场意外夺走了她的父母和弟弟。这场意外发生在弟弟去往偶像歌手李金泽（李祥祥 饰）演唱会的路上，她也将这场意外归咎于李金泽。她的生活一度跌入低谷，为了完成爸妈的遗愿，她坚强地支撑着酒吧。而在酒吧驻场的歌手杜翔（马海生 饰）对菲菲一见钟情，一直默默地守在她的身边。菲菲深知他的心意，早已被他感动。但因她有不得已的苦衷，屡次拒绝他的心意，还极力促进他去国外发展。与此同时，李金泽回到国内发展，为了弥补菲菲来到酒吧驻唱，他渐渐也喜欢上了这个特别的女孩，对她展开了热烈的攻势。他们几人同时陷进了爱与被爱的感情漩涡，在这偌大的城市，共同演绎着治愈暖心的爱情故事。
(人评分)
主演:古天乐,林家栋,陈静,夏嫣,王敏德
类型:剧情
上映:2014更新时间:2023-12-15 22:02:33
剧情:商业犯罪搜查科警司黄文彬（林家栋 饰）的妻子前往廉政公署举报丈夫巨额现金来路不明，廉记首席调查主任陆志廉（古天乐 饰）奉命传唤黄到署问话，然而对手老奸巨猾，深谙暗箱一切套路，最终平安脱险。此前不久，黄曾调查素有香港会计界教父之称的罗德永（卢海鹏 饰）未果，视频中二人的反常举止引起陆的怀疑。与此同时，身份难辨的Z基金在道貌岸然的律师胡志勇（王敏德 饰）的推动下即将上市，该基金打着扶贫旗号，有望吸引港府150亿的专项关怀基金投入其中。陆敏感察觉其中的蹊跷，他和同事利用有限的时间展开全面调查。
(人评分)
主演:迪诺·安德拉德,苏珊娜·巴列斯特罗斯,费尔南达·卡斯蒂略,,克里斯蒂娜·米利齐亚,卡尔洛·罗塔
类型:剧情
上映:2019更新时间:2023-12-15 22:02:33
剧情:在墨西哥的圣克拉拉镇，住着一个十六岁的孤儿萨尔玛。她从未见过亲生父母，人们一直告诉她父母抛弃了她。萨尔玛一生中的大部分时间都在寻找关于父母的身份和下落的线索，但幸运女神似乎从未降临，直到她发现了一本特别的书，里面充满了发生在圣克拉拉的故事以及当地居民的历史。带着这本书，萨尔玛和她的两个勇敢而温暖的养兄弟豪尔赫和佩德罗踏上了一段冒险之旅，寻找自己与家族历史之间的联系，希望最终能见到失散多年的父母。
(人评分)
主演:埃里克·科尔文
类型:剧情
上映:2017更新时间:2023-12-15 22:02:29
剧情:Based on the true story of Donald Crowhurst.1968: An inexperienced sailor enters a round the world race which he fears he won't be able to complete yet alone win. In order to save his dignity, he decides to cheat to come last but things don't go according to plan.
(人评分)
主演:Bob,Dylan,Joan,Baez,Judy,Collins
类型:剧情
上映:0更新时间:2023-12-15 22:02:29
剧情:"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.