Lay
搜索"Lay"，找到205部影视作品
导演：
/约翰·波利昆
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恐怖片《墓地邂逅》在追求刺激的年轻人中间引起不小轰动，这些人中，就读于某大学电影学院的埃里克斯·怀特（理查德·哈蒙 Richard Harmon 饰）对其推崇备至，他志愿拍出一部同样经典且超级恐怖的影片。2011年万圣节后，埃里克斯根据YouTube上某个用户留下的信息，尝试追索纪录关于《墓地邂逅》拍摄背后的一切，却惊讶地发现这部影片其实是一部真实的纪录片，而剧组成员早就死于那场灾难。 为此他不惜暂时停下手头工作，与好友兼剧组成员特雷夫·汤普森（迪兰·普雷菲尔 Dylan Playfair 饰）、女主角特莎·海米尔（斯蒂芬妮·班尼特 Stephanie Bennett 饰）和摄影师杰瑞·李（Howie Lai 饰）驱车前往那间位于加拿大某处的精神病院。等待他们的将是……
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/托比 胡珀 (Tobe Hooper)
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宇宙飞船邱吉尔号接近哈雷彗星，欲探知其内部构造。船长汤姆•卡尔森（Steve Railsback 饰）带领一组队员走出船舱，发现彗星内部藏有一艘废弃的飞船，内有多具奇怪生物的干尸以及三个沉睡在水晶棺内的人类。为解开其中奥秘，汤姆下令将他们带回飞船。 三十天后，空无一人的邱吉尔号飞临地球，航天总署派出哥伦比亚号与之对接。宇航员在船中发现焚烧的痕迹和那三个沉睡之人，而机组成员全部死亡。回到地球后，三个人中的女性（Mathilda May 饰）突然苏醒，吸取了年轻守卫的精气。之后守卫变成干尸，并最终风化。不久其他两人苏醒，似乎一场灾难正降临地球……
导演：
/劳瑞·科利尔
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涉毒已深的雪莉（玛吉·吉伦哈尔 Maggie Gyllenhaal 饰）因为抢劫而被判入狱，一晃眼三年过去，当雪莉重新回归社会之时，她，以及这个社会，都已经截然不同了。对于雪莉来说，最重要的事情就是夺回女儿艾利克斯（芮安·辛普金斯 Ryan Simpkins 饰）的监护权，目前她正由雪莉的哥哥鲍比（布拉德·威廉姆·亨克 Brad William Henke 饰）一家人抚养，很显然，鲍比的妻子并不认为雪莉有足够的能力成为一名合格的母亲。 某日，雪莉遇见了名为迪恩（丹尼·特乔 Danny Trejo 饰）的男人，这个男人和雪莉灰暗的过去有着藕断丝连的关系。迪恩的出现让雪莉再度陷入了窘境之中，她能够鼓起勇气，和过去一刀两断吗？
导演：
/约翰·沃特斯
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由桑尼·布诺主演的歌舞喜剧，以六十年代初期的巴尔的摩为故事背景。那是美国人保持天真漫烂的最后时刻，整个社会马上就要面临时代的剧变，影片透过一个风靡青少年的电视歌舞节目来反映他的政治观察，以及对社会边缘人争取公民权的深切同情。剧情围绕一黑一白的两个家庭展开。桑尼的女儿被势利的母亲以溺爱的方式教养，一心训练她成为舞蹈皇后，但她在电视节目公开招考新舞蹈员时输给了一名黑人少女，而当地电视台当时是采取黑白种族隔离政策的，在青少年打破种族禁忌追求爱情和工作自由之后，传统的陋规终于成为历史……
导演：
/丹尼斯·阿康特
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在《蒙特娄的耶稣》（Jesus of Montreal, 1989）中，丹尼·阿岗（Denys Arcand）借着拟讽耶稣受难的故事批判大众传播阻断语言沟通的罪行。在这部电影中，一个年轻而无名的演员克伦应教堂执事之邀，和另外四个人组成了临时剧团，要以现代 化的方式演出这个教堂每年夏天上演的《受难剧》。原本的剧本十分简单，只有几行以宣叙的方式朗诵的经文：「耶稣被宣判死刑，正直的人会死亡，为了我们的罪…我们的杀、窃盗、奸淫，所有的罪都加在祂身上，沉重的木块，沉重的十字架。」这些都是 忠实地取自于圣经的经文。但是，克伦根据有关耶稣的各种古代文本的考据，以及各地有关耶稣的民间传说，改写这出受难剧，例如耶稣是一名士兵潘提拉的私生子，后来因为辗转传，才成为「木匠的儿子」；耶稣的画像在拜占庭时代以前，并没有胡子，后来加上的胡，系为了增加「力量」的缘故；耶稣在埃及时是个魔术师，会变各种戏法等等。扮演耶稣色的就是剧团导演克伦，他在片中的处境，以及他最后因群众暴乱而意外死在十字架上，暗示他与耶稣的相似性。然而，他所面对的困境－－诱惑、敌意 、背叛、遗弃－－不是撒但、罗马士兵、犹太群众或神，而是大众传播的垄断势力、 不懂艺术的观众、以及提供金钱却不尊重艺术的筹办单位。
导演：
/阿列克谢·乌奇捷利
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电影提名09年度俄罗斯奥斯卡（尼卡奖）最佳电影。 Based on Vladimir Makanin's The Prisoner from the Caucasus CAPTIVE focuses on the folly of war in an intimate, startling way. In modern times, the Russian soldiers are trapped in the vast Chechen landscape, stifling in the heat, lost in hostile, alien surrounds. The handsome, laconic commander Rubakhin and the playful sniper Vovka need a guide to lead their convoy to safety. They seize a local, beautiful boy, who becomes their passport to safety, but must pay a terrible price. And his captors will not escape from the incident unscathed either....
导演：
/约瑟夫·萨金特
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影片根据真实故事改编，讲述白人医生阿尔佛雷德·布雷拉克（阿伦·瑞克曼 Alan Rickman饰）与黑人合作伙伴维文·托马斯（茅斯·达夫 Mos Def饰）打破种族界限，协力合作开创心脏手术先河，成为心脏外科手术先驱者的故事。医生布雷拉克在事业上雄心勃勃并且眼光独特，他发现了托马斯在医学方面的天赋，开始传授他医学相关的知识。起先托马斯用狗作为实验对象，天分过人的他很快就掌握了医学理论与手术实践上的技艺。他们一起攻克了法洛四联症（又称紫绀婴儿），可他并没有公开托马斯为此做出的贡献。在托马斯因为肤色而遭受不公正待遇的时候，他选择了沉默。 两人亦主亦仆、亦师亦友，在长达三十四年的合作中，维系着这份微妙的友情。当最后托马斯终于受到肯定获奖的时候，他默默的注视着医生布雷拉克的画像，泪流满面。
导演：
/Paul Rudish,Aaron Springer,Clay Morrow
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自1928年诞生以来，华特·迪士尼（Walt Disney）笔下的米奇形象历经近百年的发展，已成为世界范围内最著名的卡通人物之一。顽皮可爱同时又聪明睿智的米奇和好朋友们上天入地，经历了无数有趣刺激的大冒险。进入2013年，迪士尼频道竭诚制作出最新一般的米奇系列动画，该系列画风简约复古，又不乏新潮时尚气息。届时，米奇（Chris Diamantopoulos 配音）将和米妮（Russi Taylor 配音）、唐老鸭（Tony Anselmo 配音）、黛茜（Tress MacNeille 配音）、高菲（Bill Farmer 配音）甚至还有皮特（Jim Cummings 配音）等观众们熟悉的好朋友一起，走遍世界每一个角落，讲述一个又一个爆笑可爱的小故事。 人气与日俱增的米奇，带着小朋友们进入快乐的世界！
导演：
/Charlie Adler,Dan Forgione
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动画剧情紧接《功夫熊猫3》电影，阿宝也作为师傅收下了四个徒弟。 来到生父所在的熊猫村定居后，阿宝收了4个天赋异禀的徒弟女孩(Nu Hai), 宝(Bao), 静(Jing)、饭桶(Fan Tong)，他们分别化身青龙、灵龟、白虎和朱雀，对付新的反派金雕。 4个精力充沛的熊猫宝宝掉到一个山洞里，他们从传说中的“四星象”那里获得了气(chi)，有了成为大侠的基础。当然这4个熊孩子需得到神龙大侠阿宝的指点才能成大器。 影片反派金雕是千年前的武侠宗师，他曾是青龙、灵龟、白虎和朱雀的师傅，但被黑暗气(chi)所诱惑堕入黑暗。“四星象”封印了自己和金雕，没想到千年后金雕跑出来找到秃鹰做肉身。如果金雕将“四星象”吸收，就会变成完全体，天下将毁于一旦。
导演：
/内详
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The sixth season of the stop-motion television series Robot Chicken originally aired in the United States on Cartoon Network's late night programing block, Adult Swim. Season six officially began on September 9, 2012 on Adult Swim, with "Robot Chicken DC Comics Special" and will contain a total of twenty episodes. The first of the 20 episodes are set to air the first of the official Season 6 episodes on September 16
导演：
/Radványi Géza
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Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends? The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high. To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults. At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences: an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to "formalism for its own sake" have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding. Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
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/兰赫尔·伍尔恰诺夫
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This is a story of lifetime. A story full of spiritual power biography, behind which stays a whole age in the national development of Bulgaria. Reality & Fantasy, 6 May 2006 Author: lordsin from Bulgaria This is one of the best movies I've seen. Some may say it has no sense, but if you look closely you'll notice that this movie is a philosophical masterpiece. It shows several scenes of life in the village and then the brilliant Rangel Vulchanov puts reality into a boy's fantasies. The movie jumps from birth to death, from wedding to funeral, from joy to sorrow, from reality to fantasy, from war to peace. There are lots of laughable moments for the comedy fans, and there's drama for the drama fans. You won't forget this movie once you've seen it. It's a true gem! It will give you all you want even more...One of the best Bulgarian movies ever made. Better than all of the French movies altogether!
