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漢娜·馬克斯,麗亞娜·萊伯拉托,迪倫·斯普羅斯,哈莉·拉姆,艾蒂森·里克,雅各布·貝塔隆,杰西卡·赫特被撓
大衛(wèi)·法里爾,迪倫·里夫,大衛(wèi)·斯塔爾,哈爾·卡普,戴維·達馬托阿瑪柯德
普佩拉·瑪奇奧,阿爾曼多·布蘭恰,瑪加莉·諾埃爾,奇喬·因格拉西亞,南多·奧爾費伊,Luigi Rossi,布魯諾·扎寧,吉安菲利波·卡爾卡諾,約瑟琳·坦齊利,瑪利亞·安東涅塔·貝盧齊,Giuseppe Ianigro,Ferruccio Brembilla,Antonino Faa Di Bruno,Mauro Misul,Nando Villella,Antonio Spaccatini,阿里斯蒂德·卡波拉萊,Gennaro Ombra,Domenico Pertica,Marcello Di Fal校園兔女郎
安娜·法瑞絲,艾瑪·斯通,凱特·戴琳斯,科林·漢克斯,比佛莉·德安姬羅,休·海夫納,凱瑟琳·麥菲愉快動物餅干電影版
松田元太,水上恒司,高石明里,藤森慎吾,蒼井翔太,小澤亞李,水瀨祈,東山奈央,立木文彥,間宮胡桃草迷宮恐怖殺人事件
Joem Bascon,吉莉安·維森喬,Kristof Garcia小鬼當家5
馬爾科姆·麥克道威爾,祖蒂·弗蘭,愛德華·阿斯納同系列推薦
世界毀滅者
米拉·喬沃維奇,路克·伊凡斯,梅多·威廉姆斯,米拉·哈里斯,Billie Boullet,凱文·格林,Charis Agbonlahor,Steven Calvert,Laura Dee,Chris Finlayson一路生花2025
理想丈夫
尤里·雅科夫列夫,柳德米拉·古爾琴柯,Anna Tvelenyova,Elena Koreneva,Yevgeniya Khanayeva,Alla Budnitskaya,Igor Dmitriev,Ivan Voronov,帕維爾·卡道奇尼科夫親吻亭2
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金材昱,蔡貞安,樸奎利爆彈
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戒靈
顧泓淵身負儲物戒指枷鎖,偽裝廢柴在云道峰隱忍修煉。被迫指導小師妹唐檸,卻意外卷入秘境之爭。玄天派結盟白黎、語笙,為靈石與混元契踏入險地。秘境中智破八門金鎖陣,助唐檸領劍意。面對復蘇的狂暴白澤,他打破戒指枷鎖突破元嬰,與師兄漠儒楓合力將其封印。攜混元契歸來后穩(wěn)固修為,眼神暗藏鋒芒,新的冒險已然開啟,而壁畫深處滲出的黑暗氣息,預示著更大危機正在醞釀
嗨,媽媽!
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