女演员Laura Franco（梅丽莎·巴雷拉 Melissa Barrera 饰）被男朋友甩掉后心碎消沉、怀疑自我，此时，她在自家衣柜里碰上了住在那里的一个可怕又古怪、迷人的怪物（汤米·杜威 Tommy Dewey 饰）。
《黑鸽》是一部以圣诞节的伦敦为背景的动作剧，讲述了一个关于友情与牺牲的尖锐又感人肺腑的故事。剧集的主角是海伦·韦布（凯拉·奈特莉饰），她是一位机智、务实且尽职尽责的妻子和母亲，也是一名职业间谍。10 年来，她一直将政治家丈夫的秘密传递给她为之效命的神秘组织：黑鸽。当她的秘密情人贾森（安德鲁·浩二饰）被暗杀后，她的间谍上司、神秘的里德（莎拉·兰卡夏尔饰）指派她的老朋友萨姆（本·卫肖饰）来保护她。海伦和萨姆联手展开调查，试图查明杀害杰森的凶手及其背后的动机。而他们的调查逐渐揭开了一个庞大而错综复杂的阴谋，这个阴谋将伦敦阴暗的地下世界与迫在眉睫的地缘政治危机联系在一起。
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Alex Russo（赛琳娜·戈麦斯 Selena Gomez 饰）和法力高强但处于叛逆期的年轻魔法师Billie (贾尼斯·黎恩·布朗 Janice LeAnn Brown 饰) 出现求助，打乱Justin（大卫·亨瑞 David Henrie 饰）的平静生活。
续集继续讲述盗贼、打手、黑客、骗子等一群各有所长的人组成“侠盗”小团体，坑蒙拐骗、劫富济贫的故事，设定在上一次任务的8年后，世界发生了巨大变化。
AbuddingartrestorertravelstoasmallItalianvillagetobringamedievalpaintingbacktoitsformerglory.Littledoessheknowsheisplacingherlifeindangerfromanevilcurseandamonsterbornofmythandbrutalpain.
Fashionisidentityforteenagegirlsandonebrand,BrandyMelville,hasdevelopedacult-likefollowingdespiteitscontroversial“onesizefitsall”tagline.HidingbehinditsshinyInstagramfaçadeisashockinglytoxicworld,areflectionoftheglobalfastfashionindustry.Fastfashionisn’tallglitzandglamor–it’sabusinessthatsacrificeshumanityandpollutestheplanetforthesakeofprofit.MediastorieshaveexposedsomeofBrandyMelville’sunsavorypracticesandthat’swhysomecallitBrandyHell-Ville.源自：https://schedule.sxsw.com/2024/films/2198565
JeffreyDeanMorgan在剧中扮演迈阿密海滩上一家新开张的豪华饭店（MiramarPlaya）的主要投资人IkeEvans，冷静、睿智、有远见，但是也隐藏着一个危险的秘密。OlgaKurylenko扮演Ike的妻子Vera，曾经是一名歌舞女郎，婚后一直忠于自己的丈夫和家庭。DannyHuston扮演迈阿密臭名昭著的黑帮首领BenDiamond。JessicaMarais扮演Ben美丽的妻子Lily。StevenStrait扮演Ike的长子Stevie。ChristianCooke扮演Ike的次子Danny，个性纯真，工作努力。DominikGarciaLorido扮演在饭店附近长大的女仆Mercedes，目前在饭店中工作。ElenaSatine扮演高级妓女Judi，时不时会帮助Ike。Ike周旋于饭店的管理人员、员工、关系复杂的家庭和危险的黑帮头目之间，既要照顾好生意，又要照顾好家庭，还要提防不被人从背后捅刀子。与此同时，迈阿密这座魔幻都市白天富丽堂皇，夜里却展露出不为人知的黑暗真相。
ThelasttimeBritainwasamajorforceinworldcinemawasinthe1960s;adocumentaryofafewyearsbackonthesubjectwasentitled’HollywoodUK’.ThiswastheeraoftheKitchenSink,socialrealism,angryyoungmen;aboveall,thetheatrical.Andyet,ironically,thebestBritishfilmsofthedecadeweremadebytwoAmericans,RichardLesterandJosephLosey,wholargelystayedclearoftheperiod’smoretypicalsubjectmatter,which,likeallattemptsatgreaterrealism,nowseemscuriouslyarchaic.’KingandCountry’,though,seemstobetheLoseyfilmthattriestobelongtoitsera.Like’LookBackinAnger’and’ATasteofHoney’,itisbasedonaplay,andoftenseemscumbersomelytheatrical.Like’Lonelinessofthelongdistancerunner’,itsheroisanexploited,reluctantlytransgressiveworkingclassladplayedbyTomCourtenay.Like(theadmittedlybrilliant)’ChargeoftheLightBrigade’,itisahorrified,near-farcical(thoughhumourless)lookatthehorrorsofwar,mostparticularlyitsgapingclassinjustices.PrivateHampisayoungvolunteersoldieratPachendaele,havingservedthreeyearsatthefront,whoiscourt-martialledfordesertion.Increasinglyterrorisedbytheinhumanpointlessnessoftrenchwarfare,thespeedy,grisly,violentdeathsofhiscomradesandthemedieval,rat-infestedconditionsofhistrench,heclaimstohaveemergeddazedfromonegruesomeattackanddecidedtowalkhome,toEngland.HeisdefendedbythearchetypalBritishofficer,CaptainHargreaves,whoprofessesdisdainfortheman’scowardice,butmustdohisduty.Heattemptstospinadefenceonthegroundsofmadness,buttheupper-crustofficershavehearditallbefore.Thisisaverynice,dulyhorrifying,liberal-handwringing,middle-classplay.ItpanderstoalltheclichesoftheGreatWar-thedisgracefulworking-classmassacre,whiletheofficerssupwhiskey(Haig!)-figuredinsomecharminglyobvioussymbolism:Hargreavesthrowingadyingcigaretteinthemud;Hamphystericallyplayingblindman’sbuff.Thesetsarepicturesquelygrim,medieval,amoderninferno,asthesemenlietrappedinanever-ending,subterraneanlabyrinth,litbyhellishfires,withratsforcompanyandtheconstantsoundofshellsandgunfireremindingthemoftheoutsideworld.Theplay,inaverymiddle-classway,isnotreallyabouttheworkingclassatall-Hampismoreofasymbol,anessence,lyinginthedark,desolatelyplayinghisharmonica,anoteofhumanityinascoreofinhumanity.Hedoesn’tdevelopasacharacter.TheplayisreallyaboutHargreaves,hisrealisationoftheshabbyinadequacyofnotionslikeduty.Hedevelops.Thisrealisationsendshimtodrink(tastierthandying!).Likehisprolesubordinates,hefallsinthemud,justasHampissaidtohavedone;heevensaystohissuperior’Weareallmurderers’.Thisisallveryeffective,ifnotmuchofadevelopmentofRCSherriff’screaky’Journey’sEnd’,filmedbyJamesWhalein1930.Itsearnestnessandverbositymayseemalittlestiltedintheageof’PathsofGlory’and’Dr.Strangelove’;wemayfeelthat’Blackaddergoesforth’isatruerrepresentationoftheGreatWar.ButwhatIhavedescribedisnotthefilmLoseyhasmade.Heistoosophisticatedandcannyanintellectualforthat.ThefilmopenswithalingeringpanoveroneofthosemonumentalWarmemorialsyouseealloverBritain(andpresumablyEurope),asiftosayLoseyisgoingtoquestionthereceivedideasofthisstatue,thehumancost.Butwhathe’sreallyquestioningisthisplay,anditswoefulinadequacytorepresentthemanifoldcomplexitiesoftheWar.ThisisBrechtianfilmmakingatitsmostsubtle.Weareconstantlymadeawareoftheartificeofthefilm,thetheatrical-thestilteddialogueisspokenwithdeliberatestiffness;theatricalritualsareemphasised(theinitialinterrogation;thecourtscene,whereactorsliterallytreadtheboards,enunciatingthepredictablespeeches;themirror-playputonbythehystericalsoldiersandtherats;thereligiousceremony;thehorriblefarceoftheexecution).Prosceniumarchesaremadeprominent,audiencesobserveevents.Thisisaplaythatwouldseektocontain,humanise,explaintheGreatWar.Thisisahopelesstask,asLosey’sprovisionalapparatusexplains,’real’photographsofharrowingdetritusfadingfromthescreenasifeventhesearenotenoughtoconveytheWar,nevermindawell-made,bourgeoisplay.Losey’svisionmaybeapocalyptic-itquestionsthepossibilityofrepresentationatall-thevarioustagsofpoetryquotedmakenoimpactonhardmenmenwhorattledthemoffwhenyoung;theShakespeareandualityof’noble’dramacommentedonby’low’comedy,effectsnotranscendence,nogreaterinsight.Losey’scameraworkandcompositionrepeatedlybreaksourinvolvementwiththedrama,anywishwemighthaveformanlysentimentality;inoneremarkablesceneanofficertakesanAubreyBeardsleybookfromthecameraman!Thisideaofthetheatricalevidentlymirrorstherigidclass’roles’playedbythemaincharacters(Hamp’sfatherandgrandfatherwerecobblerstoo;presumablyHargreaves’werealwaysSandhurstcadets).Loseyalsotakesasideswipeatthekitchensinkproject,byusingitstools-historyhasbornehimout.
Whenabusexplosionkillsseveralinnocentpeople,theteamjumpsintoaction.Scolatriestobalancefatherhoodwiththejob.
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