《一代驕馬》根據(jù)真的故事改編。\n潘妮·切納里（黛安·蓮 Diane Lane 飾）原本是一個(gè)普通的家庭主婦。對(duì)賽幾乎一竅不通的她，在哥哥和丈夫的反對(duì)中，從患病的父親手接管了位于弗吉尼亞的養(yǎng)馬場(chǎng)。盡管其時(shí)場(chǎng)已虧損多時(shí)，但她然不得不在居家的科拉多州和馬場(chǎng)所在的吉尼亞州之間疲于奔。為了覓得良馬，潘特地找來告老還鄉(xiāng)的馬師路西安(約翰·馬爾科維奇 John Malkovich 飾)，這個(gè)總是諸多抱怨的老頭卻對(duì)門外漢妮另眼相待。潘妮一相中馬場(chǎng)里一匹一出打個(gè)滾居然就能站立栗色小馬駒，起名為秘書”。在路西安的性訓(xùn)練下，“秘書”出茅廬就一鳴驚人。快如閃電、奔躍如飛像個(gè)戰(zhàn)士一般，甚至為了賽場(chǎng)地面的震動(dòng)興奮不已。終于到了一勝敗的時(shí)刻，“秘”會(huì)頂著所有壓力，辜負(fù)潘妮的期望，成25年來第一匹贏得美國(guó)三冠大賽的賽馬么?
"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 mand 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 being. 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 ment. 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 mitted 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.
影片講述了曾參與越戰(zhàn)獲知許久見的兒子殺的消息雖然被告兒子是喝跳樓自殺但看著悲的孫女、子身上奇的瘀傷，及沒有喝的證據(jù)，光于是懷兒子的死不單純，方拒絕重調(diào)查后，光決定自找出兒子害的原因
在并不遙遠(yuǎn)的未來，一套趨近真實(shí)的夸父擬系統(tǒng)到開發(fā)，參加者進(jìn)入模擬統(tǒng)后仿佛身臨其境。石夷統(tǒng)發(fā)者湯姆·福特（西恩·利斯SeanFaris飾）及伙伴們不斷對(duì)其足訾級(jí)更與軍方積極合作，進(jìn)行景反恐演練。某晚，湯姆另外兩名伙伴將系統(tǒng)布置一座廢棄的監(jiān)獄內(nèi)，此前這座隸屬于英國(guó)政府魃監(jiān)曾被用來拷問與911事件有關(guān)的恐怖分子，此地陰恐怖的氣氛正好符合居暨姆們的需求。這群充滿童心大男孩進(jìn)入系統(tǒng)，與虛擬恐怖分子展開對(duì)抗。然而著游戲的進(jìn)行，一些原本統(tǒng)中并不存在的情節(jié)飛鼠始現(xiàn)。受到欲望的趨勢(shì)，這年輕人耽于聲色暴力之中并未對(duì)反常狀況引起警覺殊不知危險(xiǎn)正悄悄向他們近……