盖伊(法利·格兰杰 Farley Granger 饰)拥有一段并不幸福的婚姻,他的妻子乔伊斯(凯茜·罗杰斯 Kasey Rogers 饰)是一个水性杨花的浪女,盖伊对妻子的不忠恨之入骨。布鲁诺(罗伯特·沃克 Robert Walker 饰)常年受到专横的父亲安东尼先生(乔纳森·哈勒 Jonathan Hale 饰)的压制,忍无可忍的他逐渐起了杀心。就是这样的两个倒霉男人,他们在一列火车上相遇了。
互诉衷肠之后,布鲁诺提出了交换杀人的建议,企图给警方造成无动机的假象。盖伊以为布鲁诺只是开玩笑呢,不置可否,哪知道没过几天,乔伊斯竟然真的死于非命。布鲁诺完成了他的承诺,下面轮到盖伊了。
朱莉安(朱莉娅•罗伯茨 Julia Roberts 饰)和迈克尔(德蒙特•莫罗尼 Dermot Mulroney饰)是大学时候的情侣。和大多数的恋人一样,他们的热恋慢慢降温,直到沦为好朋友。于是毕业前有了这样一个约定:如果28岁之前,彼此还是单身,那么就明证了他俩是天造地设的一对,到时候两人就结婚。
毕业后二人一直通电,朱莉安以为只是友情。然而迈克尔的婚讯却让她如梦初醒——自己一直都还深爱迈克尔,此时强烈的妒嫉和伤心让她寝食难安。
朱莉安决定要改变这一切。她一手设计了一个个令人哭笑不得的“阴谋”,让迈克尔未婚妻当众出丑,离间他们的感情。当发现迈克尔对未婚妻的爱竟然占了上风时,朱莉安在婚礼上做出了疯狂举动,这一招果真气走了新娘。然而事情又有了变化。
Kathy is a smart and tough 1950's advice columnist at a San Francisco newspaper, with her name plastered on billboards all over the city. One day, Bill Doyle, a Los Angeles detective, walks into her office - it is instant attraction. After marrying Bill, Kathy gives up her career and becomes a homemaker. However, she is not your typical 1950's homemaker. After hosting several cocktail parties in their San Fernando Valley home, she realizes that Bill is content with his position, and shows no ambition in furthering himself. Kathy will not sit idly by while everyone around her is "moving up in the world". She personally takes upon herself the task of pushing Bill's career along, even if it comes down to murder.@
www.lightyear.clu
Fårö Document 1979 is the ten-year followup to the first documentary Bergman made about his adopted home, Fårö, where he filmed many of his best works and lived until the end of his life
四年前,丈夫Martin(查宁·塔图姆 Channing Tatum 饰)的入狱让Emily(鲁妮·玛拉 Rooney Mara 饰)陷入了忧郁之中。如今Martin出狱了,Emily的忧郁并没有减少,反而企图在停车场开车自杀。自杀未遂后,医生Jon(裘德·洛 Jude Law 饰)开始对她进行治疗。Jon了解到Emily以前的医生是Siebert,便找Siebert了解了一些情况。Jon给Emily开了几种治忧郁症的药,似乎都没作用。Emily提出让她服用一种叫Ablixa的药,是她的同事Julia向她推荐的。服用了这种新药之后,Emily病情有所好转,却开始梦游。Jon告诉她,梦游是服用这种药的副作用。一天晚上,Martin回到家中,发现Emily在厨房梦游,Emily更拿着刀刺中了Martin。Martin死亡,法院判处Emily无罪,但她必须在一个精神病院接受治疗。Jon因为此事也陷入漩涡之中,他开始调查起整个杀人事件的前因后果,发现此事并非只是Emily服用了药产生副作用那么简单,还有更多人牵涉其中......
艾索(艾迪•墨菲 Eddie Murphy 饰)是底特律黑白两道的大名人,身为警探,却也不时干些偷鸡摸狗的勾当,而且他侦办案件时经常不按程序办事,上司对他十分头痛。这天,艾索因为敲诈烟贩而差点被开除出去,幸亏好运气才免遭于难。
艾索偶遇了一位刚出狱的好友,这人带着巨额的德国债券来到了底特律。两人重逢后不久,艾索的这位朋友就被谋杀了。深谙此事不简单,艾索开始了调查。他独自一人追踪嫌疑人维克多来到了好莱坞的比佛利山,正当他准备上前盘问时,却被当地警察带回了警局。当艾索调查得悉维多克的确在贩毒时,当地的警长同意介入调查,却将艾索打发回老家。艾索只好劝说当地的一名警员比利(祖德•莱茵霍尔德 Judge Reinhold 饰)和他合作,两人开始了私自调查。
越战退伍老兵约翰·伊斯兰德(Robert Ginty饰)最要好的朋友麦克·杰弗逊(Steve James饰,曾经在越战中就过伊斯兰德的命)被一伙暴徒袭击,导致永久瘫痪。警察并不把此事放在心上,伊斯兰德心中的正义感受到了帮严峻的挑战。他一面给杰弗逊及其家人予以经济上的助,一面下定决心,要为好友复仇,亲自除掉那伙纽约街头的歹徒,为社会出害。凭借越战时的不凡身手,人贩子、黑心的肉市商人、流氓和袭击杰弗逊的暴徒头目相继倒在伊斯兰德跟前。自此,那些为非作歹的暴徒中间,流传着一个圣战者的传说,这个英雄般的人物称自己为“根除者”(“ The Exterminater”)。
FBI探员马刚(马丁•劳伦斯 Martin Lawrence 饰)最近和妻小闹得很不愉快,家人总是责备他太忙于工作而疏忽了照顾家庭。马刚这边正闹得情绪低落,却又有大案件找上了他。原来某日政府机关的电脑突然全部死机,过后发现很多绝密文档都被人浏览过了。FBI怀疑电脑工程师汤姆(马克•摩斯 Mark Moses 饰)有重大嫌疑,却又一直都找不到证据,于是只好派马刚再次出山。军命难违,本来不愿意再增加工作的马刚只有再次化身成肥胖的老妈子,以保姆身份混进了汤姆的家。在这里,他却意外发现了一个喧哗的世界,他和家里的三个孩子玩得不亦乐乎,亦知道了重拾天伦之乐的方法……
脸上带着长长伤疤的约拿·哈克斯(乔什·布洛林 Josh Brolin 饰)是个神秘的赏金猎人、卓越的枪手,还有着与死亡世界交流的超能力,有个叫赖莉的妓女(梅根·福克斯 Megan Fox 饰)一直爱着他,是他和人类社会最主要的联系。恰逢一个名叫昆丁·特恩布尔的巫毒术士(约翰·马尔科维奇 John Malkovich 饰)召集了一支死亡大军,想要在自己一百岁生日那天毁灭美国,约拿·哈克斯被政府授命阻止特恩布尔的行动,同时两人曾经的宿怨也被揭晓——原来特恩布尔便是在南北战争时期杀害约拿·哈克斯家人,并让他脸上留下伤疤的人,仇人见面分外眼红,约拿·哈克斯誓要与特恩布尔决战到底……
When Rosa is expected to hand her boss the suntan lotion on a deer hunt, this feels like a sign. Don Reynaldo’s ranch is about to celebrate its farm anniversary, but this passionate hunter’s image is built on a lie. And so, here in the countryside, where men are men, employees are grateful subjects and women diligently and docilely hold it all together, cracks begin to appear in the social life of this microcosm. Ordered around day in and day out, unnoticed by those in her class-conscious surroundings, the menial Rosa gradually becomes an agent of change. While Don Reynaldo’s extended family contorts itself in a bid to save the old order, men begin to arrive at the farm in pickup trucks. Their appearance at the feast and a threat are enough to make the ageing patriarch fear for his life and his family – and force him to act. All that passes is observed by the animals who, either as trophies on the wall or as livestock out to pasture, seem to sense the end of an old hegemony. With a keen sense of how to deploy omens that herald change, Alejandra Márquez Abella portrays an epochal shift in rural Mexico – as seen by characters who are usually relegated to passive supporting roles.