Dailly
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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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Following the crisis in Ukraine and Russia’s involvement in Syria, the world is closer to super power confrontation than at any time since the end of the Cold War. Now a committee of senior former British military and diplomatic figures comes together to war game a hypothetical ‘hot war’ in Eastern Europe, including the unthinkable - nuclear confrontation. The War Room faces a scenario that has haunted western strategists since civil war broke out in Ukraine potential Russian military involvement in the Baltic States of Latvia and Estonia. Like Ukraine these countries have sizable Russian speaking minorities, but unlike Ukraine they are members of NATO, whose founding treaty states that an attack on one ally is an attack on all of them. Because of this, western analysts regularly war game a situation where Russia seeks to exploit ethnic tensions in the Baltic and test the strength of the NATO Alliance.
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Since the 1940s, alien beings known as "GRAYS" have been sighted around the globe with the thought that they visit our planet to study our species and civilization before they eventually invade...but what if we're wrong? What if they are only here to protect us? After a meteorite crashes to earth awakening the extraterrestrial creature within, a young woman is abducted by an alien "GRAY" to aid in hunting down and destroying the creature, before it can reach a second meteorite that fell to earth decades earlier, unleashing its deadly infestation of earth.
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Rik Boskamp, the son of a nerdy accountant, wants only one thing in life: not to be bullied anymore. Inspired by a mafia film, he comes up with a plan. He will make sure they move house and that his Dad becomes known in their new village as notorious mafia boss Paulo Boskampi. The plan works! Rikki Boskampi no longer gets bullied, everyone is afraid of Paulo and treats him with respect. Until a bully from the past turns up. How long will Rikki be able to keep up his lie?
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吉姆·温诺斯基
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Murphy is a mega-famous canine TV star who is fed up with being treated like a 'cash-machine' by Hollywood executives. He escapes and a group of loving kids save him.
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In1933,ayoungwomanleavesherruralhometochaseherdreamofbecomingawriterinthecity.Shetakesajobasamaidforamiddle-agedprintinghouseownerwhoquicklystartspursuingherromantically.Theymarry,buthispassionatedeclarationsoflovesoonturncold.Aspoliticaltensionsriseinthecountry,theirlovestoryunfoldsinadividedsociety,revealingtox...
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克劳迪奥·法
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传奇偷袭手托马斯·贝克特之子!美国水师陆战队布兰登·贝克特中士授命与战友们从阿富汗前往非洲刚果,对那边的当局军直接培训以使其可以回击叛军。上峰为了撤出滞留刚果边疆的白人动物园主,召还贝克特等人深刻叛军占据的边疆,贝克特一行在见到动物园主后遭受叛军偷袭手打击,战友全体阵亡,贝克特被猎人马丁救出,幸运逃生。贝克特携动物园主女儿凯莉前往营地,岂料半路昏迷……当他醒来时,父亲的挚友米勒（比利·赞恩 Billy Zane 饰）要对他直接偷袭练习,使他占有复仇的才能,但是陆战队出生的贝克特不齿偷袭手的“鄙陋”,谢绝练习,但这是他独一的复仇机遇,何况他身下流淌着偷袭手的血液……
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吉恩·凯利
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19世纪末的美国纽约，精明、干练、泼辣的媒婆Dolly一心一意想为富翁Vandergelder作媒，结果却促成了自己与富翁的婚姻，同时，也撮合了富翁的两个伙计与女帽商及助手、富翁侄女与艺术家的婚事。
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Williamwhohasasimplejob,hemakesdeadbodiesdisappear.Thisisntsomethinghelikestoorevenwantstodo,butthroughcircumstancesoutofhiscontrol,hislittlefarmhouseinthecountryhasbecomeadumpinggroundforthecasualtiesofthegangrelatedmurdersinthenearbycity.HisdaughterGloriahasbecomeusedtoroughlookingmendroppingoffcorpsesandisevenconvincedthatsomeofthemarehauntingtheirhouse.Afterawomansbody,isdumpedatthehouse,Williambeginshismeticulousprocesswhenherealizes,shesnotactuallydead.Asthegangactivityincreases,Williampatchesthewomanupandholdsheragainstherwilluntilhecanfigureoutwhattodowithher.Astheybegintodevelopaveryunusualrespectforeachother,thewomansmurderersgetwordthatshesstillaliveandmakeplantogofinishwhattheystarted.
