White
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罗伯特·比尔曼
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In1996agunmanopenedfirefromthetopofamultistorycarparkkillingpassersbyonWhitewaterHighStreet.SinceknownastheWhitewatermassacre,oneofthevictimswasatacticalsquadpoliceofficer,Sgt.NickPatterson,Supt.PeterBoyd’sbestfriend.Patterson’spolice-issuedGlockpistoldisappearedandwastheweaponusedtokillhim.TheGlockdisappearedthatdaybutisfoundsevenyearslaterbytwoboyssome10milesfromWhitewater.Boydandhisteamareassignedtosolvethemysteryofthevanishinggunastheconvictedsniper’ssolicitoriscallinghisclient’sconvictionintoquestion.Astheinvestigationcontinues,theteambegintodiscoveranomaliesthatmayinfactmeantheconvictedkiller,CarlMackenzie-whoalwaysmaintainedhisinnocence-mayhavebeenwronglyconvicted.
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迈克尔·贝
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距今50多年前,一艘来自赛博坦的飞船坠落月球,由此激发了美苏两国的太空比赛。人类争相登上月球,只为一探飞船残骸中的机密。时光回到21世纪初,经由多少番交战,汽车人终于挫败霸天虎的入侵,继而与人类协作,独特守卫俏丽的地球。但是产生在切尔诺贝利的变乱却将尘封已久的月球筹划从新摆到桌面。为了防止霸天虎找到能量柱为非作恶,擎天柱与战友飞赴月球,更从昔时的飞船中救出了汽车人的先代引导者——御天敌。御天敌是能量柱的创造者,将上百根能量柱聚集在一同便可制作太空桥,实现物资的霎时传递。 忙着找任务以及跟女友卡莉（罗茜·汉丁顿-惠特莉Rosie Huntington-Whiteley 饰）运营恋情的山姆（希亚·拉博夫 Shia LaBeouf 饰）无可防止地卷入此中,他垂垂发明霸天虎的把持所有的诡计,却不知更大的诡计跟危急隐蔽在那月影当面……
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隆尼·普莱斯
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讲述了南非的一个白人小男孩和两个黑人服务员的故事。哈里是个在南非长大的白人小孩，山姆和威利是他家餐厅的两个服务员，哈里从小就跟他们感情很好，他们对哈里来说亦师亦友。哈里的父亲是个爱酗酒的残疾人，他要从医院回家的消息使得哈里心烦意乱。。。父亲强迫他听种族歧视的笑话，他因为父亲感到羞愧难忍，最终还是山姆帮他恢复了自信ThismovieisofHally,anadolescentwhiteSouthAfrican.Heisstuckbetweenhisintolerantfathersoutlookofhimandthoseofhiscaretaker,Sam.SamisablackwaiterandHallysfriendandteacherHallyisrequired...
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卡马提克
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ABC喜剧电视剧《喜新不厌旧》（Black-ish）的创作人肯雅·巴瑞斯（Kenya Barris）将翻拍1992年的篮球喜剧电影《黑白游龙》（White Men Can’t Jump），NBA洛杉矶快船队（Los Angeles Clippers）的球员布雷克·格里芬（Blake Griffin）与NFL卡罗莱纳黑豹橄榄球队球员瑞恩·卡利（Ryan Kalil）也将参与制片。
老版《黑白游龙》讲述了韦斯利·斯奈普（Wesley Snipes）饰演的西德尼（Sidney Deane）和伍德·哈里森（Woody Harrelson）饰演的比利（Billy Hoyle）合伙利用打球、赌球行骗的故事。比利是个白人，黑人街头篮球手往往认为他不会打球，从而轻敌输了比赛。
本片的片名“White Men Can’t Jump”是西德尼打趣比利的话，因为他说他不会...
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杜桑·哈那克
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An amiable picture about entering adulthood, great dreams, and the first - forbidden - love of a white postman, Jakub, and a pretty Gypsy girl, Jolanka. This is a poetic story, a mosaic of the playful world springing from the wild imagination of the village postman and its clash with the pragmatic mundane reality that finally beats the rosy dream's of the young protagonists. Director Dusan Hanak and screenwriter Dusan Dusek's most popular film has been cherished by critics as well as wide audiences at home arid abroad.
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WebofMakeBelieve:Death,LiesandtheInternettellsstoriesofpeoplecaughtinthedarkandtwistedwebofmodernmisinformationanddigitaldeception.Haunting,bizarreandup-to-the-momentrelevant,theseriesexploresconsequencesof"SWATing",takesachillingtripdowntherabbitholeofwhitesupremacy,joinsaFederalhuntforthesuspectofabrazenIRSheistandd...
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In this very late 60's irreverent, almost anarchic low-budget film, Brian De Palma defines more of his strange, given Hitchcock-like fascination of voyeurism, and attacks the issues of the day. The most prominent of which, both cringe-inducing and just plain funny, is when he focuses on the black-power movement (a black woman handing out fliers asking white people 'do you know what it's like to be black'), which is something that could only work for that time and place, not before or now. But one of the key things to the interest in the film is 27 year old Robert De Niro (not his first or last film with the director), who plays this character who sits in a room looking out through his telescope at women in their rooms, setting up phony deals, and in the end basically throwing bombs. Those who have said that De Niro can't act and just is himself in every movie should see this movie, if only out of some minor curiosity. A couple of times in the film it's actually not funny, as when there's a disturbance in a black-power meeting (filmed in a grainer, rougher style than the rest of the film). In the end it's capped off with a rambling monologue in an interview that tops De Niro's in King of Comedy. It's pretty obvious where De Palma's career would go after this, into slightly more mainstream Hollywood territory, but all of his trademarks are here; the dark, almost nail-biting comedy, the perfectly timed style of voyeurism, and interesting usage of locals. Think if De Palma and De Niro did a Monty Python film, only even more low-budget and in its New York way just as off-the-hinges, and you got Hi, Mom! It also contains an eccentric and funny soundtrack. imdb comment
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OnceuponatimeinthemagicalkingdomofNewYorkCity,acitythatdoesntsleepbutsleepsaroundalot,alandofthebestpizzaintheworldandcrowdedsubways,twosinglemillennialsMilo(JaboukieYoung-White)andWendy(FrancescaReale)findeachotherthroughtheMeetCutedatingapp.Afteraone-nightstand,themagicofNewYorkbringsthembacktogether,andthey...
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A young woman embeds herself in a white power group in order to find her adoptive African-American mother, but one night after the group returns from a rally they test her allegiance. Shot in a single, continuous take
