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昔归轶事
2026 10.0分 爱情片
徐涛  付明洋  /
<p>《昔归轶事》以世界茶树起源地之一的临沧市临翔区昔归茶山为背景,讲述一位台湾青年远赴临沧茶山,寻找那个用文字叩响他心门的女孩。通过茶为媒,信传情,家为归的情感主线,展现了“茶暖人,家聚心”的温情叙事,传递“茶和天下,家国归心”的深意。</p>
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蜜恋合租
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<p>安诺轩辞高薪逐写作梦,26 岁遭男友陈强出轨并贬其梦想,分手后陷窘境。闺蜜帮她招租,曾被她所救、暗恋她的苏梓桥借机合租。两人磨合中渐生情,虽因误会分开,安诺轩却知心意。苏梓桥助她入职,共退联姻对象华清泫,获苏母认可。婚后安诺轩写作终成。</p>
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东京少女
2008 7.0分 爱情片
<p>  《东京少年》的姊妹篇,同样以“无法有结果的恋情”为主题。<br/>  2008年的东京少女未步(夏帆 饰)的梦想是成为一名奇幻小说家,这天和母亲以及母亲的情人在餐厅用餐,对母亲准备再婚一事十分排斥的未步愤而离席。<br/>  1912年,宫田时次郎(佐野和真 饰)再次被夏目漱石退稿,缺乏生活经验的他写作出来的小说缺乏打动人心的力量。他沮丧地拿着退稿离..
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岸边露伴一动不动忏悔室
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<p>  本片改编自同名小说,起点是露伴在取材旅行时造访的威尼斯教堂内的忏悔室。对先人的睿智感兴趣的他实际进入了忏悔室,但那里本来是神父应该在的地方。这时,一个男人为了“告白”而出现。露伴就这样假扮成神父,倾听着男人开始讲述的25年前的恐怖事件。</p>
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迷失的欲望
2025 6.0分 爱情片
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看不见的爱人电影版
2025 5.0分 爱情片
<p>摄影师荣格偶遇前女友洛依,尾随她回家后便悄然居住在这个房间里,偷窥着洛依的一举一动。洛依时常会带不同的男人回家,但都被荣格悄无声息的黄了。随着时间的推移,荣格在房间里的状态愈加放松,马脚也渐渐露的多了,洛依越来越感觉到房间里有荣格的存在</p>
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《死神假期》剧情介绍

番茄影院提供影视作品死神假期高清全集在线观看的影视全集网,爱情片《死神假期》全集作品的导演是米切尔·莱森   ,由弗雷德里克·马奇  伊夫琳·维纳布尔  盖伊·斯坦丁  凯瑟琳·亚历山大  吉尔·帕特里克  凯瑟琳·霍华德  肯特·泰勒  亨利·崔佛斯  G·P·亨特利  莫洛尼·奥尔森  赫克托·萨尔诺  菲利普斯·斯莫利  Helen Westley  Anna De Linsky  Otto Hoffman  Frank Yaconelli  主演,死神假期在豆瓣的评分为5.0,本片由小编于2026-01-30 01:43更新,希望大家喜欢,可以把《死神假期》推荐给你朋友,本作品的地址为 https://www.e746.com/e7/53912.html

《死神假期》简介:  Because I could not stop for Death, he kindly stopped for me; the carriage held but just ourselves and immortality” – Emily Dickinson  If Death took a holiday, the guns would go silent in Iraq, the slaughter on our nation’s highways would cease, and the news media would be compelled to cover positive events in the humanities, arts, and sciences. Unfortunately, Death has not had a vacation in recorded history, but Mitchell Leisen’s 1934 fantasy, Death Takes a Holiday, allows us to consider the possibility. Co-written by Maxwell Anderson and Gladys Lehman and based on the play &quot;La Morte in Vacanza&quot; by Alberto Casella, Death Takes a Holiday stars Frederic March as the Grim Reaper who takes on human form in an attempt to discover why men fear him so much. Why he has waited 5,000 years to satisfy this curiosity is not explained.  [Spoiler] After a brief tryout as a shadowy figure who scares the daylights out of those that cross his path, Death shows up at, of all places, an upscale party at an Italian villa, posing as the mysterious Prince Sirki. Only one person knows who he really is, the host Duke Lambert (Guy Standing), and he is sworn to secrecy. Sirki proceeds to fascinate the guests. Given to bursts of wit and poetry, he can just as quickly turn sullen and threatening, and some soon find out that it is better not to look too deeply into his eyes. During the three days in which the Prince is at the villa, however, people all over the world miraculously escape death and potential suicides are doomed to frustration.  To see what’s behind all the conversation about love, the suave but naïve Prince Sirki falls for the irresistible Grazia (Evelyn Venable), the daughter of one of Duke’s friends. Grazia knows who Death is but does not fear him, much to the chagrin of her fiancé, Corrado (Kent Taylor) who has developed a strong disdain for Prince Charming.  More sinister than Brad Pitt in the 1998 remake Meet Joe Black, March turns in a very convincing performance as the creepy yet strangely appealing guest. Although the ending is melodramatic, the emotions are very real and the suggestion that Death may in reality be a friend disguised as a foe is quite touching.  (Howard Schumann, talkingpix.co.uk)  In this wearisome and predictable plot line, Death falls in love and bores us to death talking about it.  (Dennis Schwartz, homepages.sover.net)  I&#39;ve heard DRACULA was advertised with the tag line &quot;The Weirdest Love Story ever told!&quot; (this is probably a paraphrase), but at heart, I&#39;ve never felt that you could honestly call that movie a love story. The tag line would be much more appropriate for this one, since it ultimately boils down to what amounts to a love story. This movie is very good indeed, particularly if you consider that it is built around a concept that could have easily been handled in a cute or facile manner. Instead, it is handled as seriously as possible, with some real thought put into how death would try to come to terms with a life and an outlook that was to that point totally unfamiliar to him; much of the credit does go to Fredric March in the title role. It&#39;s quite scary when it needs to be, particularly during the first twenty minutes. From then on, it deals with its themes with subtlety, a quiet wit, an enduring sadness, and an everpresent tension on how Death might react if crossed. It&#39;s not perfect; some of the dialogue is self-conscious and artificial, as if the writers knew they were dealing with weighty issues and were trying to be profound. But I am certainly glad they didn&#39;t try to turn it into a musical comedy of sorts.  (Dave Sindelar, scifilm.org)  See also the remake: Death Takes A Holiday (1971)

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