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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

25-year-oldLivstillhasn’tfoundherselfyetandlivesintheprovinceswithherparentswhereshespendsmostofhertimeonthefamily’sorchard.SowhensheunexpectedlyfallsinlovewiththechaoticandadventurousAndrea,herlifeisturnedlifeupsidedown.LivistornbetweenthesecurityofherparentsappletreesandanexcitinglifeinthecitywithAndrea’sprogre...

Whengo-godancerLucíanicksafortuneindesignerdrugsfromhermafiaemployers,themobsters’doggedpursuitforceshertoseeksanctuarywithherestrangedsisterRocíoandnieceAlbain“TheVenus,”adecrepitapartmentcomplexontheoutskirtsofMadrid.Asterrible,rotten,no-goodluckwouldhaveit,LucíasoonfindsherselfsoleguardiantolittleAlbaafterRocíosuddenlyfliestheconcretecoop,unabletohandlethesupernaturalstressoflivinginamonoliththatisapparentlyalsohosttoamalignantevil—onethatinvadesitstenants’wakingnightmares.TakingafewcuesfromH.P.Lovecraft’s“TheDreamsintheWitchHouse,”"Venus"pilesonthebloodandbombshellslikeadoublebillof"Demons2"and"TheSentinel".源自：https://poff.ee/en/film/venus/

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.

Aoncepromisingbaseballstarisconstantlyhuntedbytwohitmenwhenayoungboyaskshimtosellhisbaseballjacket.Ahighschoolstudentacquiresasleepcontroldevicetohelphimwithhisexams,andendsupgettingmoreacquaintedwiththesellerintheprocess.Aprisonguardbuysaguitarandplaysonelastsongwitharockbandafterhefindsoutthathisnumberhas...

BethanyhasbeenkidnappedAvondale'spopularkidsforasurprisebirthdaypartytocelebratehersweetsixteen.Theydon'trealisethatBethanyisthetargetofthemonstrous'Thorn',andnothingwillstandinhisway.

Terrie Carpenter and David Crabtree are two of the most popular segment hosts on the SHC aka Shopping from Home Channel. They have an antagonistic professional relationship in being opposites in the way they approach their job. Terrie likes to be prepared in knowing product specs, David who accuses her of being boring in her striving to have an air of perfection. David has a devil may care attitude, his catch phrases, which he didn't even write himself, Terrie finding pretentious in wanting to come across as every viewer's best friend. They and the rest of the staff at SHC discover that the rumors that have been circulating around the station are true: that SHC's founder Sharon St. Clair, who still hosts the prime time spot segments, including the Monthly Pick, which pulls in quadruple the viewership of any other segment, is retiring, she and the Board who will make the decision of her replacement both as host for those lucrative time slots, and as head of the company. Terrie and ...

Vasu "Nithin" is a well-educated youth who belongs to a joint family. He falls in love with Sri(Raashi Khanna) and confronts her father "Prakash Raj" about his love. On the other hand, Sri's father is a rich businessman who does not believe in old-school formalities of marriage and traditions. Rest of the story is as to how Vasu takes things into his hands and makes his wedding happen on a traditional note by changing Sri's father's mindset.

《零的魔力》是一个简短的选集系列，讲述了三个故事。在《零摄影》中，墨和《坏哥们》的Pa在一起很久了，Pa也不再想被女朋友拍了。不知何故，当墨第一次偷偷拍下Pa的照片时，Pa结束了时光旅行回到了高中时代。在《月光下的零点》中，Maki是一个害怕一切的平面设计师周围的事物。她必须和方一起工作，一个许多女孩都看上的新设计师。不过，Fong喜欢戴圆眼镜，所以Maki总是避开他的眼睛。在《零支持者》中，“丘比特遗愿”的科恩想在曼谷开一家面包店，温决定离开农场来支持他。但是在他们新项目的混乱中，他们对彼此的一些甜蜜消失了。两个人打了起来，一场事故导致他们交换了身体"MagicofZero"isashortanthologyseriesthattellsthreestories.In"ZeroPhotography"Inkan...

The8thtellsthestoryofIrishwomenandtheirfighttooverturnoneofthemostrestrictivelawsonabortionintheworld.Aftera35-yearstrugglethepro-choicesidehavetoradicallyshifttacticstotryandbringthishistoricallyconservativeelectorateovertheline.