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This is commonly known as Jean Renoir's first American film (1941), although Renoir scholar Alexander Sesonske has established that Renoir's creative role in the project was severely hampered by producer Darryl F. Zanuck and that he didn't regard much of the film as his own. (The ending, for instance, was written by Zanuck and directed by Irving Pichel.) Nevertheless, the film has certain beauties and pleasures. Part of it was shot in Georgia's Okefenokee swamp, and the treatment of the small community living ~Censored~ is often pungent and distinctive.
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 La Morte in Vacanza 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've heard DRACULA was advertised with the tag line The Weirdest Love Story ever told! (this is probably a paraphrase), but at heart, I'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'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'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't try to turn it into a musical comedy of sorts. (Dave Sindelar, scifilm.org) See also the remake Death Takes A Holiday (1971)
故事发生在1980年的澳大利亚，迈克尔（山姆·尼尔 Sam Neill 饰）和妻子林迪（梅丽尔·斯特里普 Meryl Streep 饰）带着他们的三个孩子正在进行一场家庭旅行。某天夜里，夫妻两人将最小的孩子阿扎利亚留在襁褓之中外出访友，哪知道一场意外的发生夺走了阿扎利亚幼小的生命。 让迈克尔和林迪万万没有想到的是，他们除了要承受失去孩子的巨大悲痛之外，竟然还遭到了指控，指控夫妻两人正是幕后的凶手。随后，法庭开始了对于该案件的漫长的审判，尽管缺乏关键的证据，但林迪还是被判处了终身监禁。在狱中，林迪生下了第四个孩子，孩子被交由迈克尔抚养。漫长的牢狱岁月里，林迪不断的上诉，并最终为自己挣得了清白和自由。
美国黑手党根基深厚，危害严重。为了清除社会弊端，警方经过多年的侦察和筹备，对五大家族之一的卢切斯家族展开攻势。包括新泽西头目杰基•迪诺西奥（Vin Diesel 文•迪塞尔 饰）在内的20名家族成员被捕，并被指控76项罪名。在审判之前，公诉方与杰基秘密谈判，要他选择或者遭受长达30年的牢狱之灾，或者充当污点证人，指控其他家族成员。 杰基宁愿坐牢也不愿出卖伙伴，他拒绝聘任律师，一个人为自己以及整个家族成员展开了辩护…… 影片根据美国司法历史上最长的一次黑帮刑事审判改编而成，主人公为上世纪80年代的传奇帮派头目杰基•迪诺西奥（Jackie DiNorscio），故事情节与台词片段均采自18年前入档的庭审记录。由于案情复杂，且牵涉人物众多，审判持续21个月之久，并创下多项纪录：创下了多项庭审纪录：20名被告配备了20名辩护律师、8个陪审团轮番上阵以及史无前例的超长结案陈词（其中一位辩护律师的结案陈词居然宣读了5天）。
埃文·彼得斯出演讲述澳洲女歌手海伦·瑞迪的传记片[我是女人](I Am Woman，暂译)。导演Unjoo Moon，影片聚焦上世纪七十年代澳洲知名女歌手海伦·瑞迪，片名出自瑞迪演唱的同名歌曲，该歌曲曾被选为当时女权运动的主题曲。蒂尔达·格哈姆-哈维饰瑞迪，埃文·彼得斯饰瑞迪的丈夫杰夫·沃尔德，也是她的经纪人。影片将在澳大利亚开机。
Phil enjoys watching his wife Diane using her killer looks to seduce men they don't know. Diane is also thrilled by her actions, knowing that she's fulfilling her husband's voyeuristic pleasures. When she meets Mickey, she discovers that he is a man who follows no rules but his own. The games of seduction become more and more perverse, and dangerous.
一位落魄的原百老汇制片人跟一个“高级经济师”联手，吸引风险投资来排戏，以及如何搞砸这部叫《希特勒的春天》的戏，好让投资都进他们两个人的腰包。未曾想，那部“大话希特勒”版的闹剧大受欢迎，他们的计划也因此暴露，双双上了法庭。
A teenage girl with self-esteem issues finds confidence in the most unlikely way, by spending her summer battling vampires that prey on New Orleans' disenfranchised with the help of her best friend, the boy she's always pined for, and a peculiar rich girl.
山姆（詹姆斯·达西 James D'Arcy 饰）是一名战功赫赫的军人，曾被派往伊拉克执行军事任务，在出勤期间，山姆身受重伤被调回国内，无法再出任务的他被安排了一份在监狱任职的工作。山姆是一个内心里正义感非常强烈的男人，因此，在监狱里，他被狱中黑暗而根深蒂固的监狱文化震撼了，在这本该是法律最严明的地方，却贿赂频出，毒品横行，蛇鼠一窝。 在被工作困扰的同时，山姆还要面对战争给自己带来的创伤应激症，每天他都被血腥的回忆所纠缠，无奈之中只能向酒精寻求安慰。糟糕的精神状态让山姆的亲人们对他产生了误解，并且渐渐的开始远离他。
影片讲述一个年轻、有野心的电影学生(Honor Swinton Byrne 饰)和一个有魅力的神秘男人(汤姆·伯克 饰)开始了她的初恋，她尝试将现实和虚构分离开，违抗过度保护的母亲(蒂尔达·斯文顿 饰)，而这段关系正危险地接近摧毁她的梦想。 乔安娜·霍格执导，马丁·斯科塞斯担任执行制片人，BBC Films、BFI、JWH Films、Sikelia productions联合制作，5月17日北美上映。
歇斯底里 (2021) 电影
2.0分 《歇斯底里》是一个诚实而有趣的后台通道，进入一些最打破边界的单口喜剧女性的生活，探索成为她们这一代和她们性别的声音的艰难旅程。包括玛格丽特·赵，福琼·费因斯特，瑞秋·范斯坦，玛丽娜·富兰克林，尼基·格拉泽，朱迪·戈尔德，凯西·格里芬，杰西卡·基尔森，雪莉·谢菲尔德，伊利莎·施莱辛格等。2021年在FX上映。
Norman Taylor is a successful young professor, married with Tansy Taylor. He is a very skeptical man, while his wife believes in magic and witchcraft. One day, he finds lots of amulets and witchcraft in his house, and he decides to destroy all of them. His wife gets scared and advises him that he destroyed all the protection their home and lives had against the evil of envious and wicked persons, including some of his colleagues. Norman in principle does not have faith in her, but many strange events happen with him, and he changes his mind
阿巴贡（路易·德·菲耐斯 Louis de Funès 饰）是个人尽皆知的吝啬鬼，早年丧妻的他带着女儿艾莉丝（Claire Dupray 饰）和儿子克莱昂特（皮埃尔·奥赛达特 Pierre Aussedat 饰）过着平静的生活。靠放高利贷为生的阿巴贡将辛苦赚来的金币埋在了花园里，他将自家花园的地下视为最保险和最安全的所在。 阿巴贡一直在追求一个名叫玛丽安娜（Madeleine Barbulée 饰）的年轻姑娘，没想到玛丽安娜却和克莱昂特两情相悦，两人在花园里幽会的时候被阿巴贡逮了个正着，这让阿巴贡十分气恼。祸不单行，阿巴贡埋在地下的金币失窃了，克莱昂特向父亲承诺他将查出盗窃金币的罪魁祸首，但作为报酬，他必须祝福他与玛丽安娜的爱情。
旋涡 (2021) 电影
4.0分 「我已经拍过令人发噱、惊愕或挑逗的电影。这次，我想让观众跟我一起尽情流泪，体验生命即是电影。」作品总是充满争议的阿根廷名导演加斯帕诺埃，新作《漩涡》一改迷幻癫狂的影像风格，反将镜头转向逐渐萎缩的生命。影片请出意大利恐怖名导达里奥阿基多挑梁主演，面对年迈妻子精神退化、日渐失语，他们习以为常的生活也即将瓦解。影片以分割画面手法，平行呈现这对老夫妇走向凋零的样貌，透过近乎纪录片的拍摄手法，捕捉生命里真实动人的痕迹。
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