Wilcox

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猛鬼街5:猛鬼怪胎
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在上一会合,爱丽丝(LisaWilcox饰)在弗莱迪(罗伯特·英格兰德RobertEnglund饰)手中幸运逃走,但近来她又开端被恶梦困扰,结业的季节到了,爱丽丝与男友丹尼尔面临着全新的人生,弗莱迪的威逼不惹起她四周人的留神。爱丽丝在梦中目击鬼婴出生并生长为弗莱迪,面临弗莱迪步步紧逼的追杀,爱丽丝向丹尼尔告急却使男友被弗莱迪杀戮,爱丽丝得悉本人有身,而婴儿很可能被弗莱迪附体,弗莱迪开端用梦幻杀戮爱丽丝身边的友人们,对“梦中恶魔杀人”故事不屑一顾的人们连续逝世去,阿曼达修女在爱丽丝的梦中涌现,指导后者要阻拦弗莱迪行凶跟寄身她腹中的胎儿,就必需掉掉落本人的赞助……
我记得你2015
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Twostrangersfeelasupernaturalconnectionafterbeinginvolvedinthesameaccident.
龟兔赛跑:世纪复赛
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对"龟兔竞走"这个励志童话故事, 想必各人必建都耳熟能详吧! 罗菲片子公司此次改编这个汗青童话, 将时空拉到他们有名竞走后的15年, 两自我再度重聚, 要再来场跋扈狂比拼, 各自带着他们不宁愿来的孩子, 开展布满欢笑而又热烈的冒险之赛. 这一次, 他们都学到新的经验, 那就是...全新领会比赛进程中的点滴要远胜于这场比赛自身. 话说乌龟及兔子各自带着他们的宿仇步入中年, 并决议再来场缓和安慰的冒险赛. 差其余是, 此次他们各自带着他们不宁愿也不太协作的孩子随同他们踏上征程...
诅咒之城:玛雅
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  野心实足的考古学家招聘了一组菁英探险队,妄图找出马雅文明灭尽的本相。在探勘途中,他们不测找到了一座隐蔽在海底深处的水中牢狱,并不测束缚了软禁此中的骇人异种。他们必需想方法阻拦这群噬血异种浮出水面,不然马雅人预言的天下末日将一语成谶。
我们走后
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After We Leave is a sci-fi drama about a man struggling to find his wife, who he abandoned six years ago, before their visa to immigrate to an off-world colony expires.
猎捕森林怪兽
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  一场大火侵袭的熊谷国度公园,在救济职员奋力扑火之时,植物们也纷纭掉控,另有一只未被发明过的大怪兽……
荣耀六十年1938
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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
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