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19世纪70年代，与世隔绝的丹麦北部的小村庄。一对督信路德教的姐妹花玛蒂娜（比尔吉特·费德施皮尔 Birgitte Federspiel 饰）和菲丽帕（博迪尔·吉尔 Bodil Kjer 饰）平日里深居简出，在做牧师的父亲的引导下，不惜牺牲爱情，全身心地献身于宗教事业。好心的姐妹二人收留了一个由巴黎避乱而来的女子巴贝特（斯蒂芬妮·奥德安 Stéphane Audran 饰）。身世神秘的巴贝特原来是法国餐厅的名厨。巴贝特幸运地获得了法国巨额彩金一万法郎，为了回报这对好心的姐妹，巴贝特决定在两姐妹父亲的忌辰时亲自掌厨，为村民奉上一桌正宗丰盛的法国大餐。 本片根据丹麦女作家伊萨克·迪纳森的小说改编而成，荣获1988年第60届奥斯卡金像奖最佳外语片大奖，并获得1987年第40届戛纳电影节天主教人道奖，以及1989年第46届金球奖最佳外语片提名。
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电影简介:(金融投资家)高更,因偶然的机会(钱 包被偷)而撞遇到当时法国的另一个并不得志的画家 毕沙罗,得其鼓励触发,在35岁立志从一个白领转为 一个画家。随后的岁月里,高更经历家庭,爱情,责任 ,宗教,人性等种种考验,最终在南太平洋的小岛,通 过反对宗教集权的特殊经历和对当地人们的感情,创 造出了自己独有的绘画作品。 电影按高更在法国以及在南太平洋岛绘画这两条 线索,浪漫化的描写了保罗高更的生活。第一条线索 中,高更为了理想和妻子争吵,和家人诀别的片断都 十分感人,电影配乐配合情绪的争斗,催人泪下;而在 小岛的生活描述中,高更反对宗教集权,在迫压下努 力纪录神像的场面同样气势磅礴。 电影的拍摄比较商业化,演员的表演很细致投入。 我想很多朋友还记得多年前,那个力士香皂的美艳女 星:Nastassja Kinski(娜塔莎 金斯基)吧,在这部电 影里面,她扮演了高更的妻子:梅特高更,并且有很投 入细腻的演出,在电影的最后,高更从南太平洋岛回 来的展出中,金斯基扮演的妻子在众人纷纷不解离去 后,成为高更唯一的知音和精神慰籍,也将这个角色 从一个爱人升华成一个孤独艺术家的灵魂知己,同样 让人回味。 这部电影会给同样寻梦的朋友带来力量和帮助, 或许从电影的角度来说,这不是一部怎么文艺,怎么 伟大的作品。但是我想,它很好的诠释和表达了导演 对高更,这位至今不被大众理解的野蛮派艺术家的理 解。同时,电影通过电影本身的手法,在90分钟内,足 够丰富的传达了高更的精神。
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2047年，为了处理日益严重的暴力事件,东兴科技制定了“铁头人计划”， 于是，曾经在叱咤风雨的古惑仔F4，陈浩东、鸡爷、天二、无奈的选择退出江湖，然后随着老对头司徒乌鸦的出现，他们的江湖才真正的开始。为了对抗司徒乌鸦，他们找到了“香港大师”本以为可以拯救全局，然而事情又出现了变故……事件结束后，大家回归各自的生活，浩东返回街道办事处，并和细细 粒结婚；鸡爷继续做纹身师父；豆皮则在屋村开了间酒吧。他们并没 有重拾古惑仔的身分。这件事情也让他们明白江湖义气并不一定是古惑仔专利，有人的地 方就有江湖，有江湖就应尽最大努力做好事。
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在一场婚礼上，Jimmy（克里斯·吉尔ChrisGeere饰）被扫地出门，狼狈之时，他遇到了一个漂亮的女孩Gretchen（阿雅·卡什AyaCash饰）。但这绝不是传统意义上的浪漫相遇，Jimmy自私毒舌，Gretchen不羁浪荡，一个是卖不出书的过气作家，为人刻薄，在前女友婚礼上捣乱报复；一个是管理着一支乐队的经纪人，小毛病坏习惯一堆，私生活一塌糊涂。他们都不认真对待男女关系，都不想开始长久的感情。然而，以为绝不会再爱上别人的Jimmy和Gretchen，在一夜情之后，二人关系朝着他们无法控制的局面发生变化。另外，故事还围绕着Jimmy的室友以及Gretchen的闺蜜展开，四个人都充满了缺憾和烦恼，他们各有各的生活要面对，但命运将他们紧紧联系在一起。
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Hallmark宣布续订《好女巫》第三季。
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在多伏尔山的深处，被困了一千年的庞然大物苏醒了。所到之处皆已沦为废墟，而它正在迅速向挪威首都逼近。但是又该如何阻止本应只存在于挪威民间传说中之物呢？
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迈克尔·道格拉斯扮演的威廉·福斯特是一家军工场的工程师，被解雇后心情很压抑。因离婚，小女儿的生日没被邀请，恰好路上堵车，他弃车走进一家杂货铺，想找点零钱打电话，却遭到刁难，他操起垒球棒砸了铺子。在公园休息时，又和流氓打了一架；在快餐店里因和服务生发生争执，他拔出从流氓那里缴获的手枪一阵乱射，此时他已完全失控。最后，他面对退休警官的枪口，不禁自问：“我是坏人吗？”
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Sam (Matthew Broderick) is the reasonable man in a crazy urban world, the man of thoughtfulness and refined taste in a landscape of Leroy Neiman paintings and beer commercials. The guy would sooner cook for an hour over a hot stove than say `supersize it.' By day he's a store clerk in an upscale gourmet eatery, and these scenes raise a smile, especially for anyone who's visited the actual chain in New York City -- the portrayal isn't far off from the reality. Our man is besieged by hoards of customers who want their imported French cheese cut to impossibly exact standards. His efforts to remain outwardly polite (while you know he'd like to take the cleaver to the relentless clientele) are pretty funny, and will warm the hearts of clerks everywhere. In general, Broderick is in good form and provides the movie with most of whatever lightness it possesses. Sciorra's lovelorn dental hygienist, Ellen, is fine enough, too, and her unknowing interaction with our cheese-slicing hero shows some hopeful chemistry, and you may begin to feel you want to see these two get together. One of the main competitors for our lady's affections, a stockbroker (Kevin Anderson), is played as caricature: he's the beer swilling frat-boy whose idea of after-sex sensitivity is flipping on the football game. He's kind of funny at times, but the movie might be stronger if he was written or acted for us to like him more, instead of having us merely recognize him as the flat-out `wrong' guy in comparison to Broderick's sensitive man. Think of John Candy in Splash, taking a cigarette and beer can to the racquetball game; we know his lifestyle is not the one our hero should emulate, but we can't help but be charmed by the likeable goon. Whereas this character is merely a goon, and pretty unlikable all around. While it's a nice enough light movie for the first half, for me the story was somewhat derailed by its unbelievable (Hollywood) presentation of sex and adultery. (SPOILER AHEAD, skip to next paragraph.) When Ellen returns home after an evening's misadventures, she is naturally faced with the questioning husband (Michael Mantell). Quickly admitting her own indiscretion, she then immediately turns the situation around, demanding to know why the guy had gone ahead and bought a house without discussing it. Granted, it's a valid issue, and granted, many people use this countering maneuver in arguments. What's unbelievable is what happens next: the guy starts responding to her question, addressing the house-issue in a quiet, thoughtful manner. WHOA. You'd be hard pressed to find a married person in the world who, when faced with his/her partner's totally unexpected adultery, would be ready to address anything so calmly. The guy would surely be bouncing off the walls, or else crushed into silence and tears - but see, then we might actually feel for the poor schnook, and we'd see Sciorra's character in a poor light. And since that particular audience reaction doesn't serve the romantic comedy, the story tries to sneak around it. You may start to feel that, like the husband, you're being taken. Further dissatisfaction is just around the corner in the ending. We realize this is where misunderstandings will get sorted out, and our couple will finally see a clear path to one another. We want the satisfaction of rooting for them. But it's marred by another unbelievable character reaction, followed by an abrupt conclusion that feels rushed and forced, too easy and unearned. You may feel as though the movie's cheating on you again...
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自从卧底任务结束后，查尔斯希望把过去的事情都抛在脑后。但是一份突如其来的任务又是否会让和他重拾旧作？新浪微博@Classic字幕组