Hall
搜索"Hall" ，找到 305部影视作品
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约翰·亚历山大,约翰·麦凯,贝瑞特·奈鲁利,S·J·克拉克森
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曼城的一位警探 Sam Tyler 在办案中被车撞倒在地，从昏迷中醒来后发现自己的4×4车变成了30年前的款式，车内有把他调到曼城警署的文件。原来他回到了1973年，还是在同一栋楼里办公，成了另一个警探 Gene Hunt 的下属，Gene 是 DCI (Detective Chief Instpector)，Sam 是 DI (Dectective Inspector)，他们俩象是组长副组长的关系，手下还有几个警探，包括制服女警 Annie (WPC Woman Police Constable)。
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奥利维埃·派永
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小说家Stéphane Belcourt同意成为一款著名白兰地两百周年庆典的品牌大使，多年来第一次回到家乡。在那里，他遇到了初恋的儿子卢卡斯。回忆涌向了他：无法抑制的吸引力，身体在欲望的热量中融为一体，一种永远无法透露的激情……他初恋的名字叫托马斯。那时他们17岁。
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安德鲁·尼科尔
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未来的世界，科技的力量胜过一切，基因决定命运，几乎成为金科玉律。不幸文森特（伊桑•霍克 Ethan Hawke 饰）是一个基因不良的人，出生以来就决定了他近视和心脏病的缺陷，他只能活到30岁。于是父母为文森特增添了一个有着优良基因的弟弟。 文森特的梦想是漫游太空，然而恶劣的基因令他无法圆梦，直到他遇到了太空中心的杰罗姆（裘德•洛 Jude Law 饰）。杰罗姆有优秀的基因，却在一次意外中半身瘫痪。二人决定调换身份，文森特千方百计隐藏自己的基因信息，每天都认真清洗掉自己的皮屑毛发，不暴露任何蛛丝马迹。另一方面，杰罗姆帮他筹备进入太空前需要检查的基因物品。事情进展得非常顺利，然而一桩谋杀案和一根睫毛，让事情节外生枝。
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Stephen Walker,Sally George
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本片是关于老年合唱团"Young@Heart"的纪录片，"Young@Heart" 成立于1982年，成员多是年过半百的老人，其早期成员大多经历过战争创伤，二十多年来，这群老人从来没有停歇过，创作了大量的舞台剧和音乐剧，并翻唱了多乐队的歌曲，包括Jimi Hendrix，Coldplay和Sonic Youth等，他们的精神正在感动越来越多的人……
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约翰·摩尔
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6月6日凌晨6点，美国外交官罗伯特•舍恩（Liev Schreiber 饰）刚出生的儿子不幸夭亡，在斯派尔多神父（Giovanni Lombardo Radice 饰）的建议之下，他收养了一个出生不久母亲便过世的婴儿，并为其取名戴明。 戴明（Seamus Davey-Fitzpatrick 饰）在罗伯特的家中健康成长，从未生病。与之相对，各种怪事也不断在周围发生。罗伯特的妻子卡瑟琳（Julia Stiles 饰）再次怀孕，她发现戴明竟然对尚在腹中的婴儿心存恶意。在布莱南神父的指点下，罗伯特得知戴明竟然是恶魔之子，他必将不断壮大，为害人间…… 本片为1976年同名作品的翻拍版。
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彼得·韦柏
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少女葛利叶（斯嘉丽•约翰逊 Scarlett Johansson 饰）家境贫寒，于是来到画家维梅尔（科林•费尔斯 Colin Firth 饰）家做女佣。维梅尔和妻子、岳母一起生活，她们常常摆出颐指气使的神情，妻子对正当青春的葛利叶更是戒心重重。在非常苛刻和压抑的氛围下，葛利叶在维梅尔家过得卑躬屈膝。 维梅尔的画带给了她一点生活的乐趣。她收拾主人画室的时候，流露出了对艺术的天分。她跟维梅尔谈论对画的理解，二人的交心让彼此的情意慢慢滋长。葛利叶知道不可能与维梅尔修得正果，但她愿意做模特奉献给维梅尔作画。她默默地，忍受着维梅尔给她的耳朵打上洞，戴上他妻子的珍珠耳环，画出这一刻的窒息的美丽。
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查尔斯·沃尔特斯
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At fictitious Tait University in the Roaring 20's, co-ed and school librarian Connie Lane (June Allyson) falls for football hero Tommy Marlowe (Peter Lawford). Unfortunately, he has his eye on gold-digging vamp Pat McClellan. Tommy's grades start to slip, which keeps him from playing in the big game. Connie eventually finds out Tommy really loves her and devises a plan to win him back and to get him back on the field.
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Ishbel Hall
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In 2009, art detective Dr Bendor Grosvenor caused a national scandal by proving that the Scottish National Portrait Gallery's iconic portrait of Bonnie Prince Charlie, the rebel Stuart who almost seized power in 1745, was not in fact him. Keen to make amends, and suspecting that a long-lost portrait of the prince by one of Scotland's greatest artists, Allan Ramsay, might still survive, Bendor decides to retrace Charles' journey in the hope of unravelling one of the greatest mysteries in British art.
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霍华德·霍克斯
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亨利（加里·格兰特 Cary Grant 饰）是一名英俊帅气的法国军官，在前线，他结识了前来应援的美国陆军妇女队军官凯瑟琳（安·谢里登 Ann Sheridan 饰），尽管两人之间的交流经常伴随着吵吵闹闹，但随着时间的推移，亦产生了真挚而奇妙的感情。 战争结束后，亨利决定跟随凯瑟琳前往美国，结婚并开始幸福的生活，然而此时，一个难题却摆在了他们的面前，那就是亨利并不能取得美国的合法居留权。为了解决这个问题，亨利和凯瑟琳想了一个损招，那就是让亨利打扮成妇女队的军官，混进美国。让两人没有想到的是，这个看似完美的计划执行起来却遭到了诸多变故，他们能够获得最终的“胜利”吗？
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John Putch
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距第一部美国派已有10年，三个没救的新处发现了藏在高中图书馆的“索爱天书”。不过不幸的是，书已经残缺不全了。靠着书中不完整的建议，三人踏上了滑稽的破处之旅。
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Edward L. Cahn
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Out of the fifties 'B' Science-Fiction monster movies, this easily ranks as the best. It's most notable as the film that ALIEN is an unaccredited remake of, thus giving it a certain historical significance. The intriguing plot is about the rescue of the only marooned survivor (Col. Carruthers) of an ill-fated expedition to Mars. The authorities, pig-headed as usual, falsely assume that he murdered his fellow crew members, so that he'd have more provisions to survive; hence he is being brought back to Earth to face court-martial for murder. (There is also a somewhat interesting plot reversal here: Most movies of this nature usually begin with the ship leaving Earth, enroute to its otherworld destination, while, in this case, the "story" is believed finished, and begins as the characters take-off from the other planet, returning to Earth). As the rescue ship is leaving Mars, a lurking, ominous shadow is seen in the lower compartment. (A frightening, atmospheric moment, accomplished through sheer economy and simplicity). Carruthers insists of his innocence to his fellow captors, claiming that his original crew mates were slaughtered by a hostile, unseen presence on the desolute red planet, but three-guesses as to their reaction to his unusual plea. Naturally, he can't prove it, and 50's space authorities were not very alien conscience at the time. (As a side-thought, "unseen menace" may remind you of that highly "original" BLAIR WITCH). As everyone sacks out, a hapless supporting charactor whose name is at the bottom of the casting list (guess what will happen to him?) hears something in the lower compartment. Despite your futile "don't go down there, you jerk!" pleas, he does just that, and is appropriately killed (more like thoroughly obliterated) by the shadowy figure with insatiable blood lust on its mind. In the victim's case, dereliction of duty and sheer cowardliness would have been the wise decision. The scene is actually well-directed (for a change) and develops much suspense, as the entire film surprisingly does. The crew finally catches on that they have an unwanted ship crasher on board, and try every possible means at their disposal to eliminate it, but the unknown creature seems to copping an anti-death attitude. Proving to be an even more clever, worthy adversary, 'IT!' also hides out in the ventilation shafts of the ship (now that should ring a bell). Cahn's forceful direction generates considerable tension as the malevolent stowaway works its way up from one level of the confined ship to the next, eventually leaving the remaining characters trapped at the top. The movie's suspense is blunt and right to the point: "IT!' has to kill them or starve, hence they have to kill "IT!" or die. Nothing like those "no two ways about it" choices. Rent it, or check for it on cable if you wish to know the outcome. For a low-budget quickie, IT! is quite impressive and memorable. The dreaded sense of claustrophobic tension, rendering the characters' helpless entrapment, is highly effective. This is a production in which the limited budget and small sets actually work in favor of the plot's scary ambience. The black & white photography (Yes, it's one of those!) helps to enhance its dark, creepy mood, and the sense of apprehension is quite high. (Modern day color freaks never seem to take that into consideration). The plot is also somewhat cynically ironic: If the creature hadn't stowed away on the ship, Carruthers would have most likely been found guilty of the charges against him. The intelligent script (see what I mean about "rareity") was penned by noted Science-Fiction author Jerome Bixby (remember Twilight Zone's "It's a Good Life")? The picture's taut editing eliminates any extraneous dross. (ALIEN tended to drag in its first hour with its sophomoric dialogue, and why did it have to include that stupid and ultimately counter-productive sub-plot of Ash being a robot, and further dragging the story down to another big bad conspiracy cliche? UNNECESSARY!!!) Director Cahn astutely keeps the rubber-suited monster off-screen and in the shadows through-out most of the proceedings, keeping your paranoid imagination on constant alert. Unfortunately, perhaps at the studio's commercial insistance, it is a little over-revealed at the climax, but I haven't claimed this to be the perfect masterpiece. The performances, though nothing award-winning, are nevertheless cool enough so that one becomes sincerely concerned as to their fates. Not many movies in recent times ever come close to achieving that. They can be over-produced from here to eternity, and usually only succeed in being gloriously annoying. This film's story is not really totally original (what is?), for it is based on A.E. Van Vogt's "VOYAGE OF THE SPACE BEAGLE." All ALIEN fanatics should track down an old used copy to see where the initial influence came from. As long as you're not craving another CGI wind-ding, you may find it worthwhile. Just don't expect the women to be Ripley precursors. This was still the sock-knitting fifties, sad to say.
