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朱弦玉磐
权欲第三章第三季
阿莫雷的最终一夜
奈德
阿莫雷的最后一夜
谁陷害圣诞老人
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  • 动作 冒险 剧情 电影 
  • 鲁迪·杨布拉德 DaliaHernández JonathanBrewer MorrisBirdyellowhead CarlosEmilioBáez 
  • 139 分钟
  • 豆瓣 8.4 / IMDB 7.8玛雅文明末期，豪华淫靡之气蔓延，为了祭奠那些方才落成的金字塔以及驱散众神的恼怒，玛雅王国派出强悍的部队入侵森林深处的弱小部落，将战俘作为祭天的就义斩杀。　　年青骁勇的战士虎爪（RudyYoungblood饰）和族人过着安静的生涯，他有可爱的儿子和漂亮的妻子，而且不久将迎来新的性命。但玛雅部队冲破了这一切，他的部落遭到袭击，虎爪及时将妻儿藏在深坑之中，自己却不慎被俘。　　经过一路坎坷，他和其他战俘来到玛雅城。无数头颅被可耻的刽子手斩落，但即便在这个时刻，虎爪也念念不忘森林深处的妻儿。只要一息尚存，他无论如何也要回到妻儿的身边……
傲骨之战第六季
镜子的另一面：纽波特民歌艺术节1963~1965
  • 剧情 
  • Bob Dylan Joan Baez Judy Collins 
  • "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 e"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.
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