Ault

A series of unexplainable accidents befall the people and companies responsible for developing the world's first supersonic airliner (SST1). A British agent is sent to investigate and with the help of another agent uncovers a plot masterminded by Carl Petersen who stands to gain eight million pounds if the aircraft is not ready by a certain date. The evil Petersen has developed a number of robots (actually rather beautiirls with electronic brains) to help him sabotage the SST1 project by means of infrasound (extreme low frequency sound waves) which can be directed at people or objects with devastating results.

Russian operatives hijack a commercial American jet, planning to crash it into a nuclear power plant near Washington, D.C. resulting in fallout that will devastate the Eastern seaboard. With little time for Air Force fighters to shoot it down, the passengers and crew aboard the aircraft must rely on their own military and civilian training to stop the terrorists before it's too late.

InTheUltimatum:QueerLove,fivenewcouples,madeupofwomenandnon-binarypeople,areatacrossroadsintheirrelationship.Onepartnerisreadyformarriage,theothermayhavedoubts.Anultimatumisissued.Andinjustovereightweeks,eachcouplewilleithergetmarried,orgetout,aftertheyeachchoosenewpotentialpartnersinalife-changingopportunitytogetaglimpseoftwodifferentfutures.TheUltimatum:QueerLovelaunchesMay24,onlyonNetflix.

备受期待的《ULTRAMAN》第2季将从4月14日起全球上线，Netflix独家！故事越演越烈，六位战士齐心应战！神山健治与荒牧伸志联手执导这部影集，带领《ULTRAMAN》迈向未知境地。

Basedonrealevents,thedramaistoldintwotimeframesandfollowstheeventsthatleduptothemurderandthedramaofthetrial.Ray(Barratt)andhis23-year-oldbrotherNathan(Tarpey)arearrestedafterstabbingtheirmother’spartner.Whateverthecircumstancesthathaveledachildtokill,thelawisclear:theageofcriminalresponsibilityis10,andat12years-old,Raymuststandtrialinadultcourt.

ThefilmdelvesintotheunexploredthemeofthedisplacementoftheRusyn,anEastSlavicethnicgroupfromtheEasternCarpathiansinCentralEurope,duringtheconstructionoftheStarinareservoirinthe1980s.Setagainstthistumultuousbackdrop,Floodintertwinespersonalandcollectivestories,bringingtotheforefronttheoften-overlookedplightoftheRusynminorityinSlovakia.Gonda'sfilmspeakstominorities,individualswhohaveexperienceddisplacementandyoungadultsthroughitsprotagonist,Mara.Thestoryunfoldsinasmallvillage,threatenedbyanimpendingfloodduetotheconstructionofthereservoir.Mara,ayoungwomanyearningforcitylifeandaneducation,isboundtoherruralrootsbyherstrictfather,aRusynfarmer,whorefusestorelinquishhislandandlegacydespitetheloomingendoftheirworld.Floodexploresthethemesofadolescence,uprootingandthesacrificeofpersonaldesiresforthegreatergood.Thefilmseekstoelicitreflectionsonone'srootsandtheconceptofhome,aswellasthechallengesofnavigatingadisappearingcultureandheritage.TheStarinareservoir'sconstruction,whichlastedfrom1981-1988,ledtothelargestdisplacementinSlovakhistory.Gonda'spersonalconnectiontotheregion,havingspenthischildhoodsummersthere,addsalayerofauthenticityanddepthtothenarrative.ThefilmnotonlyrecountsthephysicaldestructionofthesevenRusynvillages,butalsocapturestheemotionalandculturalimpactofthiseventonthecommunity.Thedirectoraimstopresentadeeplyresearched,emotiveandintimatestoryaswellasdivingintothecomplexdynamicsbetweenpersonalidentity,communitytiesandtheinexorablemarchofprogress.Themovieispoisedtoengageandchallengeaudiences,fosteringadeeperunderstandingoftheoften-painfulinterplaybetweentraditionandmodernity.

Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).　　The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.　　Roger Philip Mellor

A young man, Guy, discovers the woman he's been sleeping with is not only married, but married to Burt Walker, a notorious low-level crime boss. Worried that Walker will at some point discover the affair and kill him, Guy decides to be upfront, tell Walker about his transgression and beg for forgiveness. The ploy works, and the pair form a very unusual, and ultimately dangerous, friendship. Written by Conspicuous Pictures

Devastatedbythelossofherfifteenyearoldson,Kevin,atthe1989FACupsemi-finalbetweenLiverpoolandNottinghamForest,AnneWilliamsfightsforthetruthaboutthetragedy.Standingalongsideotherparentswholostchildreninthematchandrefusingtobelievetheofficialinvestigationresults,Anneseeksherownevidenceinarelentlessquestforjustice.

Constantlyonthehuntandsufferingfromhallucinationsthatdrivehisviolentnature,anunnamedmaniscapturingwomenandsavagelybeatingthemtodeath.Meanwhile,awomanisluringmenintoaviolentend,bywayofherknife.Drivenbythesameforcetomaketheoppositesexsuffer,thekillers’fatesintertwine.Thetwomustfaceoffinabattletothedeath,inwhichtheyareforcedtorevealthehorribletruthbehindtheiraddictiontomurder.“Brutal”takesaninterestingapproachtoitsvisuals,drawingheavyinfluencefromWestern“Grindhouse”films,usingafiltertomakethefootageappeargrainy,damaged,andwithlightandcolorfluctuations.Unfortunately,thevisualstylingendsupfeelingmisguided,asotherthanapplyingthefilteritdoesnotimitateanyotheraspectsofthe“Grindhouse”genre.Despitetryingtodirtyupthefilm,itisapparentitwasshotondigital.Thecinematographyisalsoastepabovemost“Grindhouse”productions,withTakashiHiroseprovinghehastalentbehindthecamera.Exteriorshotstothosetakingplaceinsmallspacesareallcompetentlyframed,lit,andtransitionwell.Thedecisiontoaddaneffectontopoftheworkhurtsthefilm’simageryandevengivesasenseofdesperationtotrytocaptureacertaintypeofnostalgiawiththeaudience,insteadofrelyingonitsownstrengths.Itisunfortunatewhenonecreativechoicecanhurtaproductionsomuch.Thestoryof“Brutal”issimplebuteffective,itdoesattemptsomesortofsocialcommentaryabouttheviolentnatureofmenandwomen,butitdoesnotofferenoughdepthintothesubjecttojustifytheamountofviolenceondisplay.Thefilmdoesendonastrongnotewithaninterestingtwist,witharevealthatisboundtogrosssomeout,whilegivingothersachuckle.Inspiteofitssimplenature,thosewhoenjoyfilmsthatmakethemsomewhatuncomfortableandenjoythechallengeofgettingthroughsomeultra-violence,“Brutal”posesafunandentertainingchallengeinthatregard.