最后的莫希干人
10.0 |2025年02月23日 |HD
简介:

  本片改编自美国作家库柏“皮袜子”系列小说中的第二部。
  1757年七年战争期间,英法两军在北美殖民地激战正酣。军官邓肯带队护送长官之女可娜(Madeleine Stowe 饰)前往威廉亨利堡,半路遭法属印第安人埋伏,莫希干族最后的战士——金卡加(Russell Means 饰)、安卡斯父子与白人霍克依(Daniel Day-Lewis 饰)出手相救。但抵达要塞时他们发现这里已陷入战火,要塞长官门罗与邓肯做事强硬,不肯放走民兵自降战力,并将霍克依监禁,可娜这时已同霍克依相恋,但却无力援救。英军战事不利弃堡投降,印第安人马瓜带领族人向英军寻仇,可娜与霍克依失散后被马瓜带走,霍克依、金卡加、安卡斯一行进入马瓜族人的营地,以期带回可娜。

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  刚刚出狱的Alex(阿伦•瑞克曼 饰)本想独自一人到加拿大去,随后他在餐厅里遇到了少女Vivienne(艾蜜莉•汉普雪儿 饰),她想坐Alex的顺风车回到母亲居住的小镇。性格活泼的Vivienne跟Alex形成了鲜明对比,两人一路上也有说有笑,怎料途中他们的车被一辆卡车撞上,Vivienne当场死亡。
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  菲利普(山姆·克拉弗林 Sam Claflin 饰)和自己的表兄阿姆布罗斯(迪诺·布加迪 Deano Bugatti 饰)之间的关系非常的好,两人经常来往。一天,菲利普震惊的收到了阿姆布罗斯的死讯,菲利普不相信这一切仅仅只是一场意外这么简单,于是决定亲自前往阿姆布罗斯留下的那豪华的别墅里去一探究竟。
  在那里,菲利普遇见了表嫂蕾切尔(蕾切尔·薇姿 Rachel Weisz 饰),菲利普怀疑这个美丽且恶毒的女人为了继承丈夫的巨额遗产而谋杀了他。但在两人朝夕相处的过程里,菲利普渐渐爱上了风情万种的蕾切尔,慢慢的打消了疑虑。可这一切对于蕾切尔来说意味着什么呢?她脑袋里的算盘没有人知道。

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简介:

  故事发生在基特里奇总督学校中,詹姆斯(威廉·赫特 William Hurt 饰)是在这里任教的教师。凭借着自己特立独行的教学手段,詹姆斯很快就获得了学生的好感和同事的信任,对于在这里的平静生活,詹姆斯本人亦十分满意。
  萨拉(玛丽·玛特琳 Marlee Matlin 饰)曾经是这所学校的学生,毕业后,她几经辗转,回到了此地当起了清洁工。因为生理的残疾,萨拉个性孤僻,但这反而吸引了詹姆斯的注意,他主动接近莉兹,希望莉兹能够重拾自信继续学习深造。随着时间的推移,莉兹对于詹姆斯的态度从一开始的及其抗拒转而变成了略有好感,她的性格开始慢慢转变,和詹姆斯的距离也原来越近。可就在这时,新的问题又出现了。

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简介:

  Because I could not stop for Death, he kindly stopped for me; the carriage held but just ourselves and immortality” – Emily Dickinson
  If Death took a holiday, the guns would go silent in Iraq, the slaughter on our nation’s highways would cease, and the news media would be compelled to cover positive events in the humanities, arts, and sciences. Unfortunately, Death has not had a vacation in recorded history, but Mitchell Leisen’s 1934 fantasy, Death Takes a Holiday, allows us to consider the possibility. Co-written by Maxwell Anderson and Gladys Lehman and based on the play "La Morte in Vacanza" by Alberto Casella, Death Takes a Holiday stars Frederic March as the Grim Reaper who takes on human form in an attempt to discover why men fear him so much. Why he has waited 5,000 years to satisfy this curiosity is not explained.
  [Spoiler] After a brief tryout as a shadowy figure who scares the daylights out of those that cross his path, Death shows up at, of all places, an upscale party at an Italian villa, posing as the mysterious Prince Sirki. Only one person knows who he really is, the host Duke Lambert (Guy Standing), and he is sworn to secrecy. Sirki proceeds to fascinate the guests. Given to bursts of wit and poetry, he can just as quickly turn sullen and threatening, and some soon find out that it is better not to look too deeply into his eyes. During the three days in which the Prince is at the villa, however, people all over the world miraculously escape death and potential suicides are doomed to frustration.
  To see what’s behind all the conversation about love, the suave but naïve Prince Sirki falls for the irresistible Grazia (Evelyn Venable), the daughter of one of Duke’s friends. Grazia knows who Death is but does not fear him, much to the chagrin of her fiancé, Corrado (Kent Taylor) who has developed a strong disdain for Prince Charming.
  More sinister than Brad Pitt in the 1998 remake Meet Joe Black, March turns in a very convincing performance as the creepy yet strangely appealing guest. Although the ending is melodramatic, the emotions are very real and the suggestion that Death may in reality be a friend disguised as a foe is quite touching.
  (Howard Schumann, talkingpix.co.uk)
  In this wearisome and predictable plot line, Death falls in love and bores us to death talking about it.
  (Dennis Schwartz, homepages.sover.net)
  I've heard DRACULA was advertised with the tag line "The Weirdest Love Story ever told!" (this is probably a paraphrase), but at heart, I've never felt that you could honestly call that movie a love story. The tag line would be much more appropriate for this one, since it ultimately boils down to what amounts to a love story. This movie is very good indeed, particularly if you consider that it is built around a concept that could have easily been handled in a cute or facile manner. Instead, it is handled as seriously as possible, with some real thought put into how death would try to come to terms with a life and an outlook that was to that point totally unfamiliar to him; much of the credit does go to Fredric March in the title role. It's quite scary when it needs to be, particularly during the first twenty minutes. From then on, it deals with its themes with subtlety, a quiet wit, an enduring sadness, and an everpresent tension on how Death might react if crossed. It's not perfect; some of the dialogue is self-conscious and artificial, as if the writers knew they were dealing with weighty issues and were trying to be profound. But I am certainly glad they didn't try to turn it into a musical comedy of sorts.
  (Dave Sindelar, scifilm.org)
  See also the remake: Death Takes A Holiday (1971)

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