6.0 英语,西班牙语 · 2006 · 美国 · 剧情片
西尔维斯特·史泰龙,伯特·杨,安东尼奥·塔沃尔,杰拉尔丁·休斯,米洛·文堤米利亚,托尼·伯顿,A.J.班扎,詹姆斯·弗朗西斯·凯利三世,塔莉娅·夏尔,卢·迪贝拉,吉姆·兰普利,迈克·泰森,亨利·G.桑德斯,佩德罗·拉沃尔,迈克尔·巴佛,弗兰克·史泰龙,托拜厄斯·西格尔,Woody Paige,Skip Bayless,Jay Crawford,布莱恩·肯尼,Dana Jacobson,Larry
转眼30年过去，往日的荣光渐渐不再。曾经的传奇拳王洛奇（西尔维斯特·史泰龙SylvesterStallone饰）生活平淡乏味，心爱的妻子亚德里安（TaliaShire饰）因癌症去世，自己与儿子的关系又分外紧张，他终日坐在所开的小餐馆里追忆往昔，谁也不会想到这位拳王退休后的人生竟如此落寞。是时，新一代的拳王横空出世，年轻的梅森·迪克逊（AntonioTarver饰）统治者重量级冠军的头衔。在体育频道工作的波利（BurtYoung饰）突发奇想，策划了一场新老两代拳王的世纪对决。梅森渴望在比赛中向拳迷们证明自己的实力，洛奇则希望在此感受万众欢呼呐喊的狂热气氛，他们怀着各自的心愿重返拳台……
8.0 普通话 · 2013 · 美国 · 风车动漫
阿芮尔·温特,黛西·罗斯·布莱内斯,扎克·卡利森,韦恩·布莱迪,海登·拜尔利,吉姆·卡明斯,科林·福特,蒂姆·古恩,马克西·奈特,特蕾丝·麦克尼尔,杰斯·哈梅尔,艾什莉·埃克斯坦,Elan,Garfias
故事发生在一个神奇的魔法王国之中，平凡的女孩苏菲亚（阿芮尔·温特 Ariel Winter 配音）和母亲美兰达（莎拉·拉米尔兹 Sara Ramirez 配音）过着相依为命的日子，一天，母女两人受到了国王罗伦二世（特拉维斯·韦林汉 Travis Willingham 配音）的召见，罗伦二世对米兰达一见钟情，娶她做王后，就这样，苏菲亚一下子就成为了一国的公主。
5.0 英语 · 1964 · 英国 · 战争片
德克·博加德,汤姆·康特奈,莱奥·麦凯恩,巴里·福斯特,彼得·科普利,詹姆斯·维利尔斯,杰瑞米·斯宾塞,Barry Justice,Vivian Matalon,基思·巴克利 ,James Hunter,Larry Taylor
ThelasttimeBritainwasamajorforceinworldcinemawasinthe1960s;adocumentaryofafewyearsbackonthesubjectwasentitled’HollywoodUK’.ThiswastheeraoftheKitchenSink,socialrealism,angryyoungmen;aboveall,thetheatrical.Andyet,ironically,thebestBritishfilmsofthedecadeweremadebytwoAmericans,RichardLesterandJosephLosey,wholargelystayedclearoftheperiod’smoretypicalsubjectmatter,which,likeallattemptsatgreaterrealism,nowseemscuriouslyarchaic.’KingandCountry’,though,seemstobetheLoseyfilmthattriestobelongtoitsera.Like’LookBackinAnger’and’ATasteofHoney’,itisbasedonaplay,andoftenseemscumbersomelytheatrical.Like’Lonelinessofthelongdistancerunner’,itsheroisanexploited,reluctantlytransgressiveworkingclassladplayedbyTomCourtenay.Like(theadmittedlybrilliant)’ChargeoftheLightBrigade’,itisahorrified,near-farcical(thoughhumourless)lookatthehorrorsofwar,mostparticularlyitsgapingclassinjustices.PrivateHampisayoungvolunteersoldieratPachendaele,havingservedthreeyearsatthefront,whoiscourt-martialledfordesertion.Increasinglyterrorisedbytheinhumanpointlessnessoftrenchwarfare,thespeedy,grisly,violentdeathsofhiscomradesandthemedieval,rat-infestedconditionsofhistrench,heclaimstohaveemergeddazedfromonegruesomeattackanddecidedtowalkhome,toEngland.HeisdefendedbythearchetypalBritishofficer,CaptainHargreaves,whoprofessesdisdainfortheman’scowardice,butmustdohisduty.Heattemptstospinadefenceonthegroundsofmadness,buttheupper-crustofficershavehearditallbefore.Thisisaverynice,dulyhorrifying,liberal-handwringing,middle-classplay.ItpanderstoalltheclichesoftheGreatWar-thedisgracefulworking-classmassacre,whiletheofficerssupwhiskey(Haig!)-figuredinsomecharminglyobvioussymbolism:Hargreavesthrowingadyingcigaretteinthemud;Hamphystericallyplayingblindman’sbuff.Thesetsarepicturesquelygrim,medieval,amoderninferno,asthesemenlietrappedinanever-ending,subterraneanlabyrinth,litbyhellishfires,withratsforcompanyandtheconstantsoundofshellsandgunfireremindingthemoftheoutsideworld.Theplay,inaverymiddle-classway,isnotreallyabouttheworkingclassatall-Hampismoreofasymbol,anessence,lyinginthedark,desolatelyplayinghisharmonica,anoteofhumanityinascoreofinhumanity.Hedoesn’tdevelopasacharacter.TheplayisreallyaboutHargreaves,hisrealisationoftheshabbyinadequacyofnotionslikeduty.Hedevelops.Thisrealisationsendshimtodrink(tastierthandying!).Likehisprolesubordinates,hefallsinthemud,justasHampissaidtohavedone;heevensaystohissuperior’Weareallmurderers’.Thisisallveryeffective,ifnotmuchofadevelopmentofRCSherriff’screaky’Journey’sEnd’,filmedbyJamesWhalein1930.Itsearnestnessandverbositymayseemalittlestiltedintheageof’PathsofGlory’and’Dr.Strangelove’;wemayfeelthat’Blackaddergoesforth’isatruerrepresentationoftheGreatWar.ButwhatIhavedescribedisnotthefilmLoseyhasmade.Heistoosophisticatedandcannyanintellectualforthat.ThefilmopenswithalingeringpanoveroneofthosemonumentalWarmemorialsyouseealloverBritain(andpresumablyEurope),asiftosayLoseyisgoingtoquestionthereceivedideasofthisstatue,thehumancost.Butwhathe’sreallyquestioningisthisplay,anditswoefulinadequacytorepresentthemanifoldcomplexitiesoftheWar.ThisisBrechtianfilmmakingatitsmostsubtle.Weareconstantlymadeawareoftheartificeofthefilm,thetheatrical-thestilteddialogueisspokenwithdeliberatestiffness;theatricalritualsareemphasised(theinitialinterrogation;thecourtscene,whereactorsliterallytreadtheboards,enunciatingthepredictablespeeches;themirror-playputonbythehystericalsoldiersandtherats;thereligiousceremony;thehorriblefarceoftheexecution).Prosceniumarchesaremadeprominent,audiencesobserveevents.Thisisaplaythatwouldseektocontain,humanise,explaintheGreatWar.Thisisahopelesstask,asLosey’sprovisionalapparatusexplains,’real’photographsofharrowingdetritusfadingfromthescreenasifeventhesearenotenoughtoconveytheWar,nevermindawell-made,bourgeoisplay.Losey’svisionmaybeapocalyptic-itquestionsthepossibilityofrepresentationatall-thevarioustagsofpoetryquotedmakenoimpactonhardmenmenwhorattledthemoffwhenyoung;theShakespeareandualityof’noble’dramacommentedonby’low’comedy,effectsnotranscendence,nogreaterinsight.Losey’scameraworkandcompositionrepeatedlybreaksourinvolvementwiththedrama,anywishwemighthaveformanlysentimentality;inoneremarkablesceneanofficertakesanAubreyBeardsleybookfromthecameraman!Thisideaofthetheatricalevidentlymirrorstherigidclass’roles’playedbythemaincharacters(Hamp’sfatherandgrandfatherwerecobblerstoo;presumablyHargreaves’werealwaysSandhurstcadets).Loseyalsotakesasideswipeatthekitchensinkproject,byusingitstools-historyhasbornehimout.