Paule
搜索"Paule" ，找到 以下影视作品
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哈利·布拉德比尔
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NoelClarke将主演制片公司TigerAspectProductions制作的ITV剧《观点Viewpoint》，这部剧来自《伦敦生活Fleabag》的导演HarryBradbeer及爱伦•坡奖得主编剧EdWhitmore，这部5集剧讲述警方在曼彻斯特进行严密的监视调查行动，而剧情会探讨观察他人时是否存在真正的「客观」以及影响。NoelClarke饰演MartinKing总警司，他在单亲母亲ZoeSterling（AlexandraRoach饰）家里设立监视点，因为这儿可以清楚观察到韦斯特伯里广场及失踪小学教师GemmaHillman（AmyWren饰）的家。GemmaHillman失踪前与男友GregSullivan（FehintiBalogun饰）同住，而他亦是主要嫌疑犯。其他演员包括CatherineTyldesley﹑BronaghWaugh﹑SarahNiles﹑ShannonMurray﹑PhilDavis﹑IanPuleston-Davies﹑DominicAllburn﹑MarcusGarvey﹑CarlyssPeer及ErinShanagher。
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InthemidstoftheimpassablelandscapeatthefootoftheAlps,ayounggroupofseriousoffendersisundergoinganexperientialeducationalprogramintendedtorehabilitatethem.Allofasudden,amemberoftheprogramdiesaviolentdeath.Nobodyknowsexactlywhathappened,andtheyouthsfaceadifficultdecision.Shouldtheywaitfortheauthoritiestorecoverthebodyandinvestigatethecrime?Or,escapeandtaketheirfateintotheirownhands?Thegroupdoesn’thavemuchincommonwitheachother,thoughonethingunitesthem;allofthemhavehadreallybadexperienceswiththeauthoritiesanddon‘texpecttobetreatedfairly.Sincetheydon’tknowwhotheperpetratoris,theyonlyhaveoneoption:torun.Upthemountains,upthehighestpeaksoftheAlps.Itseemshopelessuntiltheystumbleontoacomplexcavesystemwheretheycanfindshelterfromwind,weather,andtheirpursuers.Intheirfightagainsttheforcesofnature,theyformtheirownsociety,accordingtotheirownrules:theWildRepublic.
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内详
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4集剧《游戏规则RulesoftheGame》由RuthFowler执笔,MaxinePeake已加盟剧组。当人力资源总监Maya来到「Fly」时,她试图改变公司的小圈子文化及调查不当行为,不过经理Sam（MaxinePeake饰）对女性的偏见使得Maya受到阻挠。但当某天Sam回到办公室并发现接待处有一具尸体后,Maya这下不止要处理现况,还得找出谋杀背后所隐瞒的秘密。
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伊万·阿达勒
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本·阿塔尔
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Suzanne Jouannet
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夏洛特·甘斯布
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马修·卡索维茨
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皮埃尔·阿迪提
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奥黛丽·达娜
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本杰明·拉维赫尼
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茱迪丝·谢拉
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Réjane Kerdaffrec
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杰拉德·沃特金斯
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弗兰兹-鲁道夫·郎
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卡米尔·拉萨特
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Anne Bouvier
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Sarah Chaumette
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Marcel Gitard
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Unjeunehommeestaccuséd’avoirvioléunejeunefemme.Quiestcejeunehommeetquiestcettejeunefemme?Est-ilcoupableouest-ilinnocent?Est-ellevictimeouuniquementdansundésirdevengeance,commel’affirmel’accusé.N’ya-t-ilqu’uneseulevérité?Leschoseshumaines,interrogelemondecontemporain,démontelamécaniqueimpitoyabledelamachinejudiciaireetnousconfronteànosproprespeurs.
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Atraumaticbetrayaldrivesawomantowardsavengefulextremity.
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Deserves recognition as an interesting misunderstanding of the hallucination generation, 20 January 2007 Author TimothyFarrell from Worcester, MA Wild in the Streets comes from the same school of film making that spawned other attempts to connect to the counterculture such as Skidoo and Candy. The difference between this and the aforementioned films is that Wild in the Streets is reasonably clever and well-made. It isn't sympathetic to the counterculture and will likely offend those with fond memories of the time. Surprisingly, it was a big hit when released and appealed to the youth whom it ridiculed so much. Unlike The Trip and Psych-Out (two other AIP films), its not an accurate representation of the movement at all. However it does work as social satire. The direction by Barry Shear is good and makes innovative use of split screen photography. Plus, he keeps everything moving at a quick pace. In its funny moments, the film works well. In its attempts at drama, its helplessly dated and just as funny as the humorous moments. Christopher Jones underplays his role and Shelly Winters overacts. Hal Holbrook offers the best performance and Diane Varsi achieves the right note of grooviness. The script by Robert Thom has its moments, especially the ending (easily the most ingenious part of the film). Wild in the Streets isn't perfect, but deserves recognition as an interesting misunderstanding of the hallucination generation. Those into this kind of kitsch will enjoy it the most. I'd rather watch The Trip or Psych-Out however. (610) -from imdb
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荣·伊斯特
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ITV打算将GeorgesSimenon的JulesMaigret系列侦探小说改编成电视电影《MaigretSetsATrap》和《Maigret’sDeadMan》，憨豆先生RowanAtkinson将在其中扮演主人公法国侦探JulesMaigret。故事发生在上世纪五十年代的巴黎，JulesMaigret是当时有名的探长。
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Before Krypton exploded and Jor-El put his baby son, Kal-El, in a rocket ship to Earth, the bene册ent ruler was forced to banish three irredeemable criminals to another dimension called The Phantom Zone. The trio's leader, General Zod, vowed revenge. Later, of course, Kal-El grew up to become Superman, Earth's mighty champion. A battle with the criminal mastermind, Lex Luthor, ends with Superman hurling a nuclear warhead into space where it explodes, but not harmlessly. Instead, it frees the Kryptonian threesome from their other-dimensional prison. They soon discover they have almost unlimited power (the same powers, in fact, as Superman), which they use to take over the Earth. Meanwhile, the intrepid reporter, Lois Lane, learns that her bumbling colleague, Clark Kent, is really Superman, a revelation that leads to him bringing her to his frozen Fortress of Solitude and renouncing his powers in order to make love to her. It is only when Superman and Lois return to civilization that they learn of the three Kryptonians and how Lex Luthor has joined forces with them. Now, Superman must reverse the irreversible and regain his powers in order to save mankind.
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Michael, a Danish gangster, takes his girlfriend, Sascha, and his extended criminal family on a luxury vacation in a fancy villa in gorgeous Bodrum, Turkey. Shopping, waterparks, barbecuing, and hardcore partying fill their days and nights. Having little regard for anything or anybody outside their world, they exist in a bubble of excess that is governed by Michael’s rules—and if the code is broken, they all know that violence will follow. But when Sascha befriends a Dutchman with romantic designs on her, she toys with Michael’s authority and creates a situation that cannot end well. In a breakthrough performance, Victoria Carmen Sonne fully commits as Sascha, the complex young moll that eludes assumptions and expectations. First-time writer/director Isabella Eklöf has a dynamic visual touch and a flair for dark comedy and creates a destabilizing discord as she elaborately fills the frame with colorful, seductive images while telling a disturbing, graphic tale of brutality and power. Holiday provokes, challenges—and even implicates—the viewer in its unsettling reflection of our times.
