Canco
搜索"Canco" ，找到 以下影视作品
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卡洛斯·莫瑞诺
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MartinGonzalezisalowerclassboywhodiscoverstheworldofdrugtraffickinginthewaytoupwardmobilityfundamentallytowintheloveofSophia,agoodgirl,aprioriunattainable,whichishislovesincechildhood.Hisboldness,unconsciousnessandyouthleadhimtobecomeactiveandvitalpartofthedangerousCartelNortedelValle,acriminalorganizationthatdefinesitselfasabloodthirstyandpowerfuldevicethatovercametheCaliCartelincunningmilitarypowerofcorruptionandeconomicstrength.Severalyearsofdrugandappropriate(bad)friendshelpedMartintomoveupthesyndicate,andfinallygettingtheattentionofSofiaandwinherlove.
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肯尼思·布拉纳
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海军陆战队员杰克·帕特里克·赖恩（克里斯·派恩ChrisPine饰）是一个拥有强烈爱国情怀的热血男儿，在阿富汗执行任务期间，他所乘坐的直升机遭到敌人的炮火攻击，杰克也身受重伤，几乎殒命。康复期间，他与善良美丽的医学院学生凯茜·穆勒（凯拉·奈特莉KeiraKnightley饰）相知相恋，与此同时他还被CIA官员托马斯·哈柏（凯文·科斯特纳KevinCostner饰），伤愈后潜入华尔街，以分析师的身份监控每一个可能危害到国家安全地资金源。身份和任务极度机密的杰克对女友也要三缄其口，为此不得不承受各种莫名的质疑和猜测。某天，杰克发现俄罗斯可能正利用金融向美国发动潜在的恐怖袭击。为了查明真相，他只身前往俄罗斯，谁曾想却置身于最危险的境地……
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TheMoliereplayersareintheirdressingroom,gettingreadytogoonset.OneactormentionstoanotherthathisfaceremindshimofanopportunistturncoatheknewwhenhewasintheResistance.HethenrelatestheadventurethathehadintheResistance,runninganillegalradiostationanddodgingtheNazis.
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汤姆（詹姆斯·弗兰科JamesFranco饰）与安娜（凯特·哈德森KateHudson饰）是一对儿生活在伦敦的美国夫妇，受到金融风暴影响,生活陷入拮据困境。在即将面临被驱逐的紧要时刻，一笔“意外之财”从天而降。岂料私藏这笔钱没有想象中容易。在这背后竟然隐藏着一场连环黑吃黑的毒品交易和精心策划的复仇计划。黑帮老大，成瘾毒贩，资深警探，普通良民，每个人怀着不同的心思，绞尽脑汁、机关算尽，上演着谎言与谎言的明争暗斗。而为了独享这笔“横财”，真正头破血流的绝杀逃亡也拉开了序幕……
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安德鲁·马丁
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GuyisanexperiencedBritishfighterpilotwhoisincommandofBritain'sfirstmannedmissiontospace.HehastrainedforthisforthreeyearsattheheightoftheColdWarandnowheisaloneinspacewithamalfunctioningcapsule.HehaslimitedcontactwiththeUK,someunusualcommunicationwiththeUSandsomeunorthodoxcommunicationwithTyuratamdeepinSovietRussia...
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Thepicissetintheaftermathofanapocalypticeventthatforcespeopleintoextremeisolation.Afather(Moyer)andson(VanAcker),whohavebeenlivingoffgridfor20years,encounteranoutsider(Silverstone)whothreatenstodestroytheutopiathey’vebuilt.
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"BehindCut"tellsthestoryoftwomenworkingtowardstheirdreamstogether.ThestoryrevolvesaroundKiJin,adesignstudentwithaspirationstobecomeaworld-famousdesigner,andYeongWoo,whoworkspart-timeasadeliverymanwithabrightpersonality,andtheirstrugglesofworkandlove.Korea'stopmodelLeeBincomesintothepictureandisexpectedtogivethesto...
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"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his mand of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly being. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without ment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are mitted and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.
