Tran

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熙德第二季
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InthesecondseasonofElCid,afterthedeathofKingFernando,hissonsSancho,AlfonsoandGarcíabecamethekingsofCastilla,LeónandGalicia,respectively.Urraca,ladyofZamora,willhandlethethreadsofpowerandwewilldiscoverherdarkerside.ThedisputesbetweenthemwilltransformtheIberianPeninsulaintoafieldofbloodybattles.Ruyisknighted,butintheprocesshewillhavetosacrificewhathelovesmosttobecomeatruehero.
爱尔兰式告别
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SetagainstthebackdropofaworkingfarminruralNorthernIreland,’AnIrishGoodbye’isablackcomedyfollowingthereunionofestrangedbrothersTurlough(SeamusO’Hara)andLorcan(JamesMartin)followingtheuntimelydeathoftheirmother(MichelleFairley).
暗咒
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Ahauntingtaleoffamilylife.Avulnerableyoungboyfindshismotherpushedoutofthefamilyhomebyastrangenewwoman,andhemustconfronttheterrifyingsupernaturalforcesthatseemtomoveinwithher.
圣诞末班车
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FollowedbyTonyTowers,hesalocalcelebrity,asuccessfulnightclubmanagerandheisengagedtoayoungerwoman,Sue.Thingsgetalittlestrangewhenheembarksuponthe3:17toNottinghamforaChristmasfamilyreunion.
老师的情人
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Chen Liping reprises her most popular role and is a teacher in this TCS telemovie. This time, she undergoes an ugly duckling-elegant swan transformation as she overcomes tremendous odds to become a role model to a group of notorious students. Also stars Bernard Tan (Chen Chuanzhi) and Lee MeiLing.
身为人父
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SixdadsgatherinruralOklahomaforaweekendfishingtrip.Asthemencasttheirrodsintotheriver,sharetheircatchoverdinner,andswapstoriesbesidethebonfire,welearnwhathasbroughtthemtothisscenicidyll:thelovefortheirtransandLGBTQchildren,theirfearsfortheirchildren’ssafety,andtheurgencytofightforthegroundonwhichtheyallstand.TheDadsisaquietmeditationonfatherhood,brotherhoodandmanhoodamidthechangingAmericanlandscape.
濒危物种
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ENDANGEREDSPECIESisanintense,actionpackedsurvival-adventureaboutawealthyAmericanfamilywhotraveltothevastAfricanwildernessofKenyahopingforadreamvacationfilledwithexcitement,bondingandachancetofixthegrowingriftswithintheirfamily.Butwhentheirsafarivehicleisattackedbyarhinoprotectinghercalf,thefamilyisleftstrandedmilesfro...
替身/Sunod
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Olivia Sazon (Carmina Villarroel) is a mother who is desperate to find help for her terminally-ill daughter.  As she takes on a demanding job at a call center in an old building in Manila, Olivia begins to experience a series of strange events that creep into her personal life.  And when the events start to affect her daughter's behavior, Olivia is forced to uncover the mystery that lies within the call center walls...but what's waiting for her inside may be more sinister than she ever expected
南部殭屍来袭
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Lonnie,acropdusterpilot,mustleadamismatchedgroupofsurvivorstoescapethedeadlyzombiehordeafteranexperimentalchemical,intendedtocontroltheinvasivekudzuvine,transformsthecitizensofCharleston,MSintozombies.
嗨,妈妈!
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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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