搜索"Olli" ，找到 部影视作品
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一名生物危害补救清洁员雇用了对工作有无限满足的技术人员后，发现自己的业务受到威胁。
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凯尔库克是一个善良的小男孩和一个有天赋的棒球运动员。当他的父亲特德被解雇，被迫在一个新的州从事一份低水平的工作，仅仅是为了维持生计，凯尔和他的家人被迫离开舒适的郊区生活方式。泰德希望，一旦凯尔加入了当地的团队，他的适应会更容易一些，但当凯尔成为欺凌和裙带关系的受害者时，这些计划很快就落空了。泰德意识到如果凯尔继续留在当地联盟，他将永远没有机会实现他在12年历史的世界职业棒球大赛中打球的梦想，于是骗了凯尔一个办法，让凯尔进入对手区的球队。凯尔知道这是他唯一的一次投篮，他以被淘汰出全明星队的沮丧情绪为动力，成为全州乃至全世界最好的12岁球员。最终，他将在州冠军赛中面对他以前的球队，在那里他发现了他甚至不知道自己拥有的伟大。
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本剧是NBC颇具震撼力的电视迷你短剧《10.5》（地动天惊）的续集和终结篇。在上一集中，强烈的地壳运动所引发的10.5级恐怖地震毁灭了美国西海岸，改变了地核结构，直接威胁到到北美甚至整个西半球，造成了一系列连锁灾害：夏威夷被海啸吞没，胡佛被摧毁，洛杉矶沉没……《10.5 Apocalypse》（毁灭之日）的视觉效果达到了同类迷你剧中的高水准。 为了拯救更多的生命、挽救国家，Hollister总统（扮演者：艾美奖和金球奖双料明星Beau Bridges，SG-1 第九季中可爱的将军）决定孤注一掷。他找来全国最顶级也是最有争议的地震学家Samantha Hill博士（扮演者：艾美奖得主Kim Delaney）和她的上司兼前男友Jordan Fisher博士（扮演者：David Cubitt），评估最近一次地震所带来的冲击。Hill绞尽脑汁，没办法弄明白为什么会有持续不断的地震和火山爆发，但她意外发现了也是地震学家的父亲（扮演者：Frank Langella）多年前作出的一个难以置信的假设。如果这个假设正确，将会有更大的灾难到来，北美大陆也将彻底被改变：将被分割成两块独立的大陆。
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"Bob Dylan going electric" at the 1965 Newport Folk Festival is one of those epochal moments in rock history that seemingly everyone has heard about, but what few people seem to know is that it wasn't some ephemeral event that we only know from word of mouth -- filmmaker Murray Lerner documented the performances at the Newport Festival for several years running, and The Other Side of the Mirror collects footage from the three years Dylan appeared at the celebrated folk gathering, allowing us to see Dylan's rise through the folk scene for ourselves. Watching Lerner's documentary, what's most remarkable is how much Dylan changed over the course of 36 months; the young folkie performing at the afternoon "workshop" at the side of Joan Baez in 1963 is at once nervy and hesitant, singing his wordy tunes while chopping away at his acoustic guitar and energizing the crowd without seeming to know just what he's doing. In 1964, Dylan all but owns Newport, and he clearly knows it; he's the talk of the Festival, with Baez and Johnny Cash singing his praises (and his songs), and his command of the stage is visibly stronger and more confident while his new material (including "Mr. Tambourine Man" and "It Ain't Me, Babe") sees him moving away from the "protest songs" that first made his name. When the audience demands an encore after Dylan's evening set (Odetta and Dave Van Ronk were scheduled to follow him), Peter Yarrow tries to keep the show moving along while Dylan beams at the crowd's adulation, like the rock star he was quickly becoming. By the time the 1965 Newport Festival rolled around, Dylan's epochal "Like a Rolling Stone" was starting to scale the singles charts, and the hardcore folk audience was clearly of two minds about his popular (and populist) success. When Dylan, Fender Stratocaster in hand, performs "Maggie's Farm" backed by Al Kooper, Mike Bloomfield and the rhythm section from the Paul Butterfield Blues Band, the raucous but hard-driving number inspires a curious mixture of enthusiastic cheering and equally emphatic booing, and while legend has it that the version of "Like a Rolling Stone" that followed was a shambles, the song cooks despite drummer Sam Lay's difficulty in finding the groove, though if anything the division of the crowd's loyalties is even stronger afterward. After these two numbers, Dylan and his band leave the stage, with Yarrow (once again serving as MC) citing technical problems (if Pete Seeger really pulled the power on Dylan, as legend has it, there's no sign of it here); Dylan returns to the stage with an acoustic six-string to sing "Mr. Tambourine Man" and "It's All Over Now, Baby Blue" before vanishing into the night without comment. While much of the audience at Newport in 1965 wanted the "old" Dylan back, his strong, willful performances even on the acoustic stuff makes it obvious that the scrappy semi-amateur we saw at the beginning of the movie was gone forever, and the ovations suggest more than a few people wanted to see Dylan rock. Lerner's film tells us a certain amount of what we already knows, but it gently debunks a few myths about Dylan during this pivotal moment in his career, and his performances are committed and forceful throughout; no matter how many times you've read about Dylan's Newport shoot-out of 1965, seeing it is a revelatory experience, and Lerner has assembled this archival material with intelligence and taste. This is must-see viewing for anyone interested in Dylan or the folk scene of the '60s.
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意大利北部工业城市拉文纳，无处不在的工厂噪音、被污染的河流、荒凉的郊外、冷清的街道，一片人间炼狱的模样。远处，一个身着绿衣的年轻女子，在巨型高耸的烟囱和吞吐着迷雾的管道中驻足。在这污浊荒废之地，她显得烦躁不安又神思恍惚。原来这个略显神经质的女人朱莉安娜（莫尼卡·维蒂 Monica Vitti饰）的丈夫正是这家冶炼厂的经理乌戈（卡洛·吉奥内蒂 Carlo Chionetti饰）。乌戈把她介绍给自己的同事科拉德·泽勒（理查德·哈里斯 Richard Harris饰）。两人相互吸引，朱莉安娜难以控制自己的感情，与泽勒发生了肉体关系。渐渐地，她发觉自己已经难以同丈夫和儿子恢复以往的亲密感情。泽勒对她的感情，也依旧无法抚慰她寂寞的心灵。这条淌满血的红色沙漠，是机器工业时代将人性摧残得无以复加的血淋淋的荒漠。
这部由意大利新现实主义导演安东尼奥尼执导的他第一部彩...
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某座城市的验尸房，艾米（丹妮尔·哈丽丝 Danielle Harris 饰）行色匆匆，准备参加亲朋为她准备的生日派对。而就在此时，惨无人道的大屠杀在城中另一个角落发生，九人遇害，而屠戮他们的凶手雅克布·古德奈特（Glen Jacobs 格兰·“凯恩”·雅克布 饰）也在救护车上咽下最后一口气。眼看派对泡汤，艾米只得和同事赛斯（卡吉-埃里克·埃里克森 Kaj-Erik Eriksen 饰）打起精神准备接收送来的尸体。而就在此时，艾米的哥哥威尔（格里斯顿·霍尔特 Greyston Holt 饰）带着凯拉（切兰·西蒙斯 Chelan Simmons 饰）、塔玛拉（凯瑟琳·伊莎贝尔 Katharine Isabelle 饰）等好友潜入验尸房，精心为妹妹准备了盛大欢快的派对。
胆大妄为的男女们纵情歌舞，却不料雅各布已悄然醒来……
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Carol Jeffries (known as 'Jeff') is a naive American woman staying in the Phillipines. She is given ten years in prison after being set up by her drug-dealer boyfriend, Rudy. She endures the harsh conditions, sadistic head matron and attempts on her life, then convinces her cell-mates to try to escape with her through the jungle, in spite of the knowledge that ruthless trackers will be sent out after them. ” “ Legend has it that Sam Arkoff, head of American International Pictures saw a statuesque Grier at his company switchboard and cast her on the spot for her breakthrough hit Coffy. That, as they say, is bull shee-it. The former beauty queen made her film debut in 1970 as an extra in Russ Meyer's big breast bonanza Beyond The Valley Of The Dolls, and appeared in a number of B-pics shot in the Philippines the following year for AiP's rival company, Roger Corman's New World Pictures. Alongside her role as the tough-as-nails prostitute in Big Doll House were supports in the horror flick The Twilight People and as a topless hooker (again!) in Cool Breeze, then back behind bars for Women In Cages. In Women In Cages, Grier plays the sadistic warden for once, a pot-smoking lesbian with a fully-equipped torture chamber (including a guillotine!). The 'New Fish' (a recent inmate, for you prison film novices), a ditzy blonde ex-stripper called Alabama, has taken the heroin possession rap for her pimp boyfriend. She knows too much, so the pimp blackmails her cellmates to execute her. A competent and well-shot entry in the tropical prison genre from Filipino director Gerry De Leon, it places the embittered ex-addict and prostitute Grier in the position of slave owner, watching her white charges toiling away in the plantation with obvious ironic glee.