影片名称：瘦长怪人

上映时间：2015年

影片类型：剧情,恐怖,灾难

影片导演：卢东硕

影片主演：珍妮·艾加特,斯蒂芬妮·沃格特,Richard Rabago,马骏超,哈伦·法罗基,艾尔克·萨默

资源类别：全集完整未删减版

总播放次数：112

窗边放着一把椅子，霍靳西看了一眼略(🦋)有些灰尘的椅面，齐远立刻叫人搬了张干(gàn )净的椅子过来，换走了那张椅子。

Late one night, a mysterious car is brought into the Chicago police impound garage after a deadly traffic accident. The on-call mechanics soon discover the car has a mind of its own. With hundreds of horsepower and two tons of reinforced steel at its command, it's a seemingly unstoppable killing machine capable of outrunning -- and outwitting -- humans.

虎妞娘走后(hòu )，她(🦃)转(zhuǎn )身进屋，霎时一股热气扑面，屋子里暖和得多，想了想道：我(🍄)们还是灭了火盆？(🍔)

在贵(🔗)州腹(🌭)地有一(yī )座(zuò )山，山区有一个民谣大意为：谁能破解(jiě )红崖上的天书文字，就(jiù )能取走白岩(🆗)洞中的十八抬金银。据说诸葛亮率军曾在此晾晒盔甲，故称晒甲山。山上有一块浅红色绝壁，附近(jìn )山(shān )间的居民常可以看到崖壁上红光如火，鲜(🕢)艳夺(duó )目。这些红光来自崖壁上的一片用铁红色颜料书写的(🗓)奇特石碑(bē(🦓)i )文，这(zhè )些符(⛪)号形状怪异，参差错落；像是文(📻)...

在军校里还敢(gǎn )这么张扬的，估计也就只她一份了(🏼)。

菲利普（Robert Montgomery）是英国工业(🌱)巨子(🛍)的(de )继承人，天生有着精神疾病，在法国(guó )读书期间曾发病(bìng )住进了精神病院(yuàn )，后来他逃出(💨)医院回国。英国方面都不知(zhī )道他的病情和在法国的(🔓)经历，菲利普回到家后精神暂时很平静。他和英(yīng )国时的好友沃德（George Sanders）一(yī(💲) )起爱上了菲利普母亲的女秘书斯特拉（...

出身传统印度家庭的(👲)印度裔美国少女珊米妲（梅根(🛷)·苏(👷)丽(lì ) Megan Suri 饰），渴望融入美(🌏)国自(🧑)由的(de )高中生(🤵)活，拒绝接受母亲不停灌输的印度传统文化，也(yě )疏离了(🔲)同样有印度血统(tǒng )的童年好友塔米拉（莫哈纳·克里希南 Mohana Krishnan 饰）。她发(🤪)现这位曾经的好友渐趋诡异，不仅(🌾)随身(🆘)携带(dài )空玻璃罐，不安地振...

白阮(📥)(ruǎn )眼眶有点酸：(🏭)妈妈也想你。我保证，明天你睡觉起来，一(📳)定能看到妈妈(mā )，好吗？

This is a fascinating, colorful and very-well made film that looks like an epic and is in fact an intelligent drama about sculptor-painter- architect-poet Michelangelo Buonarrotti. Here portrayed by the much taller Charlton Heston, and admirably, he is presented as a man who want only to create beauty, a man without "people skills" or interest in much of anything else--not women, nor war not the dynastic dreams of men--only the Renaissance idea of utilizing one's abilities. He even pays attention to religion only because the world interests him, and he equates his heaven with what men can achieve--and Earth with the same sort of place he expects to find as an afterlife. Carol Reed directed and produced this fascinating look at the Renaissance, with its warrior priests, its worldly dreamers and its subtle change toward a politics of gunpowder, secular pursuits and worldly morality. Philp Dunne, author of "David and Bathsheba" wrote this thoughtful spectacle film as well. In the cast besides Heston are Rex Harrison as Pope Julius, close-fisted patron, admirer and nemesis, Harry Andrews as his rival Bramante, Diane Cilento as the woman who would like to love him, Alberto Lupo, Adolfo Celli, Fausto Tozzi and a narration by Marvin Miller. The opportunity to see the real landscapes in which Michelangelo was born, worked and became inspired is a wonderful one for the viewer; the entire Carrara marble quarry section is stunningly beautiful. The film has battle scenes able done by Robert D. Webb, Leon Shamroy's cinematography, a prelude by Jerrald Goldsmith and sterling music by Alex North, production design by John Cuir and Jack Martin Smith and memorable costumes by Vittorio Nino Novarese. The basic thrust of the storyline is twofold; against the wars conducted by vigorous and all-too-worldly Pope Julius, the war to win secular hegemony for his Papal rule, the counter-current is Michelangelo's desire to further his career in Rome by obtaining a commission from the Pope. He does, an assignment to refurbish the Sistine Chapel for him. But after an attempt at some saints, he leaves Rome, and flees to his beloved Carrara. There, surrounded by mountains, he has a vision at sunset and suddenly knows what he must do. Obtaining Julius's reluctant permission, he sets to work covering that modest ceiling with tremendous figures, a bearded Jehovah, a recumbent Adam touched to life by a divine spark, the world's most famous fresco painted from a homemade scaffolding; in spite of illness, missed meals, filth, deprivation, cold, an injury that nearly costs him his eye and more, including the Pope's indifference to his intense passion for his art, Michelangelo endures. "When will you make an end?" Julius cries. "When I have done," the artist insists. And at the end, Julius, beaten on the field of battle, admits he may also have been wrong about the ceiling...that his fostering of Michelangelo's work may be the most important thing he has ever done. Of course the puritans of the era object to the nakedness the artist has depicted, but Michelangelo says he painted people as God made them. The movie, based on the biography "The Agony and the Ecstacy" by Irving Stone here concentrates on a seminal moment in the great artist's career. He may be a sculptor as he insists; but after seeing this moving and fascinating film, no one can doubt that he is also a stubborn and single-minded man--and a painter of genius. Most underrated; often fascinating fictionalized biography. Heston and Harrison are good, everyone else good as well. Worth seeing many times, if only for Dunne's dialogue and the scenery.

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