暖男爸爸粤语
946
4.0
完结
暖男爸爸粤语
4.0
更新时间:03月16日
主演:郑中基,张可颐,许博文,陈俞希,骆振伟,羅沛琪,克里瑟尔·孔松希,邵仲衡,章尾而,文凯玲,岑乐怡,陈子丰,区嘉雯,李建邦,李彩宁,余香凝,柳俊江,陈炳铨,蔡宝欣,余逸思,王颂茵,杨英伟,罗颂欣,李昭南,谭凯伦,沈殷怡,杨偲泳,陈欣妍,董嘉仪,张同祖,陈德森,陈桂芬,陈郁宪,刘江,蔡宛珊,白健恩,曾贊學
简介:

阿荣(郑中基 饰),一个四十岁的单亲爸爸。在妻子意外离世后,独力照顾儿子“暴龙哥”,并在儿子的学校附近经营便利店。与“暴龙哥”相依为命期间,阿荣渐渐变成一个懂得爱和付出爱的暖男。   因妻子生前购买的保险,阿荣认识了妻子的保险顾问芷明(张可颐 饰)。二人因各自种种的人生经历,成为无所不谈的好朋友。事业有成的芷明虽然早已打消了结婚的念头,但却被阿荣温暖和蔼的性格吸引,重新思考结婚的意义。   暖男爸爸阿荣帮助过很多人,与身边不同的女性结下不解缘,然而他却从未放下对亡妻的思念。阿荣与这些女性朋友的关系变得错综复杂的同时,亦发现自己与芷明之间渐渐建立微妙的默契。

2072
2020
暖男爸爸粤语
主演:郑中基,张可颐,许博文,陈俞希,骆振伟,羅沛琪,克里瑟尔·孔松希,邵仲衡,章尾而,文凯玲,岑乐怡,陈子丰,区嘉雯,李建邦,李彩宁,余香凝,柳俊江,陈炳铨,蔡宝欣,余逸思,王颂茵,杨英伟,罗颂欣,李昭南,谭凯伦,沈殷怡,杨偲泳,陈欣妍,董嘉仪,张同祖,陈德森,陈桂芬,陈郁宪,刘江,蔡宛珊,白健恩,曾贊學
生死劫杀1946
946
3.0
已完结
生死劫杀1946
3.0
更新时间:03月16日
主演:廖京生,沙景昌,李勇勇,文兴宇,董子武,崔慕燕
简介:1946年,东北解放区下江市刚刚成立的民主政权,面临着一个极其阴险毒辣的所谓“牵牛花计划”的绞杀者。新任市长江一舟决定从前年发生的神秘事件“8.12悬案”查起,于是缉捕伪市长凌少谦的法网悄悄撒开。不料,失踪多时的凌少谦落入了国民党特务之手。这时,另一股神秘势力又将他劫持到猫儿山中。我公安人员只身入虎穴,威震敌胆,并千里追击,捕获凌少谦。在枪决凌少谦的刑场上,情况急变,国民党特务、土匪、神秘势力与我方对垒,气氛剑拔弩张。江市长下令放人,并智取“白狼”,“黑貂”,了解了“8.12悬案”的真相。经过殊死搏斗,彻底摧毁了潜伏敌特、土匪、日本特务多股势力的联合绞杀,取得了新生的民主政权的最后胜利。  剧中围绕伪市长凌绍谦与背后七名曾经做过伪官吏的自然科学家的人物命运,以及一张具有重大战略意义的下江煤炭系统开发图,展开了一场惊心动魄的斗争,从而引发了一个动人心魄的故事。  该剧是由中辰国际集团公司、汇广国际传播事业公司和河北电影制片厂联合录制的。主要演员有廖京生、李勇勇、沙景昌等。
1131
2001
生死劫杀1946
主演:廖京生,沙景昌,李勇勇,文兴宇,董子武,崔慕燕
911事件
946
9.0
HD中字
911事件
9.0
更新时间:03月16日
主演:查理·辛吉娜·格申路易斯·古兹曼伍德·哈里斯奥嘉·方达布鲁斯·戴维森杰奎琳·比塞特乌比·戈德堡芳妮·A·钱勃丝Whitney,AvalonDahlia,Waingort,GuiguiBrian,J.,Singer
简介:几个原本毫不相干的人,共同上了同一座电梯;但恐怖的事情发生了,所有人都意想不到的是,这座电梯会因为一起恐怖袭击而彻底停止运转,并且卡在了高层不能上下,这给电梯中的人都造成了极大的恐慌。而在总控制室内,也就是商贸大楼的电梯控制室的工作人员麦琪,却再也不能看到电梯中的任何录像。在这样一个密闭的空间里,内部通讯设备失灵,手机打不出去,对于电梯中的众人来说,若是电梯的线缆断掉,所有人即将死无葬身之地,而且大楼再次受到了恐怖袭击,电梯失灵,救援人员只能通过走楼梯才能达到顶楼救火。电梯内的他们并不能在第一时间获救。但万幸的是,他们在电梯中通过内部通讯设备联系上了工作人员麦琪,在麦琪的帮助下,他们得到了电梯的结构图,并且克服重重困难,成功的打开了电梯,但只逃出去了一个人——那位想要跟丈夫离婚的女人,困在电梯里的人们能否顺利获救就寄托在了她的身上。
2214
2017
911事件
主演:查理·辛吉娜·格申路易斯·古兹曼伍德·哈里斯奥嘉·方达布鲁斯·戴维森杰奎琳·比塞特乌比·戈德堡芳妮·A·钱勃丝Whitney,AvalonDahlia,Waingort,GuiguiBrian,J.,Singer
欧洲的某个地方
946
2.0
HD中字
欧洲的某个地方
2.0
更新时间:03月16日
主演:Artúr,Somlay,Miklós,Gábor,Zsuzsa,Bánki
简介:Somewhere in the remote region, the war ends. In the midst of ruined cities and houses in the streets, in rural hamlets, everywhere where people still live, are children who have lost their homes and parents. Abandoned, hungry, and in rags, defenseless and humiliated, they wander through the world. Hunger drives them. Little streams of orphans merge into a river which rushes forward and submerges everything in its path. The children do not know any feeling; they know only the world of their enemies. They fight, steal, struggle for a mouthful of food, and violence is merely a means to get it. A gang led by Cahoun finds a refuge in an abandoned castle and encounters an old composer who has voluntarily retired into solitude from a world of hatred, treason, and crime. How can they find a common ground, how can they become mutual friends The castle becomes their hiding place but possibly it will also be their first home which they may organize and must defend. But even for this, the price will be very high.  To this simple story, the journalist, writer, poet, scriptwriter, movie director, and film theoretician Béla Balázs applied many years of experience. He and the director Géza Radványi created a work which opened a new postwar chapter in Hungarian film. Surprisingly, this film has not lost any of its impact over the years, especially on a profound philosophical level. That is to say, it is not merely a movie about war; it is not important in what location and in what period of time it takes place. It is a story outside of time about the joyless fate of children who pay dearly for the cruel war games of adults.  At the time it was premiered, the movie was enthusiastically received by the critics. The main roles were taken by streetwise boys of a children's group who created their roles improvisationally in close contact with a few professional actors, and in the children's acting their own fresh experience of war's turmoil appears to be reflected. At the same time, their performance fits admirably into the mosaic of a very complex movie language. Balázs's influence revealed itself, above all, in the introductory sequences an air raid on an amusement park, seen in a montage of dramatic situations evoking the last spasms of war, where, undoubtedly, we discern the influence of classical Soviet cinematography. Shooting, the boy's escape, the locomotive's wheels, the shadows of soldiers with submachine guns, the sound of a whistle—the images are linked together in abrupt sequences in which varying shots and expressive sharp sounds are emphasized. A perfectly planned screenplay avoided all elements of sentimentality, time-worn stereotypes of wronged children, romanticism and cheap simplification. The authors succeeded in bridging the perilous dramatic abyss of the metamorphosis of a children's community. Their telling of the story (the scene of pillaging, the assault on the castle, etc) independently introduced some neorealist elements which, at that time, were being propagated in Italy by De Sica, Rossellini, and other film artists. The rebukes of contemporary critics, who called attention to formalism for its own sake have been forgotten. The masterly art of cameraman Barnabás Hegyi gives vitality to the poetic images. His angle shots of the children, his composition of scenes in the castle interior, are a living document of the times, and underline the atmosphere and the characters of the protagonists. The success of the picture was also enhanced by the musical art of composer Dénes Buday who, in tense situations, inserted the theme of the Marseilaise into the movie's structure, as a motive of community unification, as an expression of friendship and the possibility of understanding.  Valahol Europaban is the first significant postwar Hungarian film. It originated in a relaxed atmosphere, replete with joy and euphoria, and it includes these elements in order to demonstrate the strength of humanism, tolerance, and friendship. It represents a general condemnation of war anywhere in the world, in any form.
556
1948
欧洲的某个地方
主演:Artúr,Somlay,Miklós,Gábor,Zsuzsa,Bánki
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