Kris Collins
搜索"Kris Collins" ，找到 332部影视作品
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Steve Cohen
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When Debbie Strand is sent to live with her elderly grandmother it is the easiest thing she could have done until things go terribly bad. Her grandmother is too controlling for Debbie and will not let her have a life. Debbie had enough and beats her to death with her cane. Now her eyes are set on her new teacher, Mr. Rinaldi. She finds out that his girlfriend is out of town and...
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Murray Lerner
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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 S...
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Ty Cole
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作为一名小有成就的播客，达米安·博斯特很享受自己的单身生活。直到一个固定炮友向他表达了自己的爱意，并发出了最后通牒。如果他在与她妈妈的早午餐上现身，她将明白他对这段感情是认真的。如果他不出现，两人将分道扬镳。达米安陷入了恐惧和困惑，但他必须抑制住逃离自己最害怕的事的冲动。
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巴里·索南菲尔德
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一位是作风矫健、机智幽默的联邦特工威斯特（威尔·史密斯 Will Smith 饰），一位是爱耍聪明的易容大师高登（凯文·克莱恩 Kevin Kline 饰），这两个看似一山不容二虎的狠角色却被总统同时召见了，原因是授命他们一同追捕一名神秘毒辣的科学家连环杀手。威斯特和高登只好在摩擦碰撞中培养默契，竟然很快成为一对绝配拍档。经过调查，两人发现原来幕后黑手竟然是曾经的天才博士勒弗里斯（肯尼思·布拉纳 Kenneth Branagh 饰），他因在一次实验中失去双腿，只好永久呆在轮椅上，然而残缺的个性与对社会的怨恨让他开始到处作乱，甚至发明了一架巨型的蜘蛛机器滥杀无辜，并企图谋杀总统，统治美国。危机迫在眉睫，威斯特和高登分头来到新奥尔良，驾驶着一列布满机关的火车迎战蜘蛛博士，一场古怪武器间的斗智斗勇已悄然展开……
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劳拉·韦,宾杜·德·斯图潘尼
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Based on the novel by Hollie Overton. It will follow the story of twin sisters Lily and Abby, whose lives are shattered when Lily is abducted from their quiet rural English town by beloved local teacher Rick Hansen. After years of abuse in captivity, Lily escapes, only to discover that freedom brings its own challenges. The world she longed to return to has moved on without her. As Abby, Lily and their mother Eve struggle to rebuild their family, they must confront the lasting damage and the terrifying reality that Rick is still out there, determined to control the narrative and evade justice.
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劳拉·韦,宾杜·德·斯图潘尼
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Based on the novel by Hollie Overton.
It will follow the story of twin sisters Lily and Abby, whose lives are shattered when Lily is abducted from their quiet rural English town by beloved local teacher Rick Hansen. After years of abuse in captivity, Lily escapes, only to discover that freedom brings its own challenges. The world she longed to return to has moved on without her. As Abby, Lily and their mother Eve struggle to rebuild their family, they must confront the lasting damage and the terrifying reality that Rick is still out there, determined to control the narrative and evade justice.
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Channel 4
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Bear drops into the swamps of Florida's Everglades, where at least 60 tourists need to be rescued each year. He trudges through the swamp and shows how to construct shelter, deal with razor-sharp sawgrass, get out of a muddy sinkhole, avoid alligators and rattlesnakes. He eats frogs and cooks a turtle Seminole-style.
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Murray Lerner
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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.
