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苔丝1979
78
7.0
HD中字|HD国语
苔丝1979
7.0
更新时间:04月30日
主演:约翰·科林,托尼·丘奇,娜塔莎·金斯基,彼得·弗斯,约翰·贝特,汤姆·查本,罗斯玛丽·马丁,布里吉德·艾琳·贝茨,珍妮·比拉斯,杰拉尔丁·阿祖尔,斯蒂芬妮·特雷耶,埃洛迪·沃诺,本·里克斯,利·劳森,莱斯莉·邓禄普,西尔维亚·柯勒律治,维罗尼克·阿兰,理查德·皮尔森,安妮·蒂拉德,卡罗琳·皮克尔斯,苏珊娜·汉密尔顿,阿丽尔·朵巴丝勒,大卫·马卡姆,帕斯卡尔·德·布瓦松,迪肯·阿什沃斯,吉米·加德纳,基思·巴克利 ,约翰·摩尔,帕齐·罗兰兹,皮特·本森,莉娜·罗克莎,杰克·斯蒂芬斯
简介:  苔丝(娜塔莎·金斯基 Nastassja Kinski 饰)出生于英国乡村的一个小农家庭,一天她的父亲听说自家是古老贵族德伯维尔的后裔。这个传闻,让苔丝的一生发生了剧变。因为有一个姓德伯维尔的有钱人家就住在不远,父母让苔丝前去攀亲。
  苔丝的美貌让德伯维尔家的少爷阿雷克(利·劳森 Leigh Lawson 饰)心生邪念,他夺走了苔丝的贞洁,让苔丝怀上了孩子,然而孩子却在出生后不久就夭折了。在德伯维尔家的这段悲惨经历,让苔丝失去了当时社会最看重的贞操,当她在牛奶厂遇上安吉尔(彼得·弗斯 Peter Firth饰),以为安吉尔是她的终生伴侣时,却在新婚一夜因为告知安吉尔自己的过往而遭到抛弃。对爱情对生活已经绝望的苔丝,此时又遇上了家庭的变故。面对阿雷克的再次追求,苔丝别无选择。然而,苔丝的命运仍然急泻直下……
2681
1979
苔丝1979
主演:约翰·科林,托尼·丘奇,娜塔莎·金斯基,彼得·弗斯,约翰·贝特,汤姆·查本,罗斯玛丽·马丁,布里吉德·艾琳·贝茨,珍妮·比拉斯,杰拉尔丁·阿祖尔,斯蒂芬妮·特雷耶,埃洛迪·沃诺,本·里克斯,利·劳森,莱斯莉·邓禄普,西尔维亚·柯勒律治,维罗尼克·阿兰,理查德·皮尔森,安妮·蒂拉德,卡罗琳·皮克尔斯,苏珊娜·汉密尔顿,阿丽尔·朵巴丝勒,大卫·马卡姆,帕斯卡尔·德·布瓦松,迪肯·阿什沃斯,吉米·加德纳,基思·巴克利 ,约翰·摩尔,帕齐·罗兰兹,皮特·本森,莉娜·罗克莎,杰克·斯蒂芬斯
伟大的逃兵
569
7.0
HD中字
伟大的逃兵
7.0
更新时间:04月30日
主演:迈克尔·凯恩,格兰达·杰克逊,沃尔夫·卡赫勒,约翰·斯坦丁,卡莱斯·皮尔,丹妮尔·维塔利斯,劳拉·马库斯,威尔·弗莱彻,婕姬·克卢恩,唐纳德·萨基·马凯,基拉·贝尔,伊恩·克宁汉,维克托·奥辛, 丹尼尔·海德,杰弗里·兰布,乔·伯恩,亚历克斯·斯卡贝克,埃利奥特·诺曼,彼得·西奥鲍兹,西蒙·达尔文,瓦莱丽·萨茹夫,马克·奥尼尔,格雷姆·戴灵,伊曼·扎弗兰妮,伊莎贝拉·多姆维尔,巴哈瓦娜·包萨尔,杰克·约翰逊,简奈特·马斯克尔,斯图尔特·库克,大卫·伊夫斯塔夫
简介:

  89岁的二战老兵伯尼(麦克尔·肯恩 饰),与他行动不便的妻子芮妮(葛兰黛·杰克森 饰)同住在养老院里,过着规律又宁静的晚年生活。适逢诺曼底登陆70周年,伯尼打算参加纪念活动,却错过团体报名的机会。当他准备放弃时,芮妮感受到他的遗憾,便鼓励他独自前往。隔天早晨,伯尼瞒着所有人,溜出养老院前往诺曼底,展开这趟伟大的“逃亡”。这段旅程中,他开始回想起战时与战友们并肩作战的画面,这让伯尼意识到自己对于过去,仍有尚未解开的心结必须去面对……

4662
2023
伟大的逃兵
主演:迈克尔·凯恩,格兰达·杰克逊,沃尔夫·卡赫勒,约翰·斯坦丁,卡莱斯·皮尔,丹妮尔·维塔利斯,劳拉·马库斯,威尔·弗莱彻,婕姬·克卢恩,唐纳德·萨基·马凯,基拉·贝尔,伊恩·克宁汉,维克托·奥辛, 丹尼尔·海德,杰弗里·兰布,乔·伯恩,亚历克斯·斯卡贝克,埃利奥特·诺曼,彼得·西奥鲍兹,西蒙·达尔文,瓦莱丽·萨茹夫,马克·奥尼尔,格雷姆·戴灵,伊曼·扎弗兰妮,伊莎贝拉·多姆维尔,巴哈瓦娜·包萨尔,杰克·约翰逊,简奈特·马斯克尔,斯图尔特·库克,大卫·伊夫斯塔夫
倒计时
12
7.0
HD中字
倒计时
7.0
更新时间:04月30日
主演:珍妮·艾加特,布莱恩·马歇尔,Clare Sutcliffe,西蒙·沃德
简介:

The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years. At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with. But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood. I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential. by D.R. 

896
1969
倒计时
主演:珍妮·艾加特,布莱恩·马歇尔,Clare Sutcliffe,西蒙·沃德
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