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Carlos writes crime novels but since the death of his wife he has been suffering from writer's block. When his publishing company sends an assistant at his house to help him overcome this difficulty, Carlos believes he might have another shot at love. Terrified by the idea that this new opportunity might escape, he decides to keep her with him at all cost.

14-year-oldHervéisanaverageteenagerwholiveswithhismotherandstrugglestocopewithhislibidoimpulses,unprepossessingphysiqueandmediocreintellect.Hismajorpreoccupationisdatingagirl.Unfortunately,inthisarea,girlskeepturninghimdown.Buthehasn’tgivenuphopeyet.Oneday,withoutreallyunderstandinghow,itseemsthatAurore,oneoftheprettie...

When terrorists plant a bomb on a commercial flight, the passengers aboard the plane must fight to keep the plane in the air and all the passengers alive: the bomb is rigged to detonate whenever the plane dips below 800 - feet.

Gilberts allergy towards eggs, leads to bullying and embarrassment. He tries to keep the allergy a secret, but when his awful aunt is to babysit him, she tries to poison him with eggs. But Gilbert plans his revenge. Based on the novel Eggg.

英文冗长剧情： Assassins (WCW's Diamond Dallas Page, Ona Grauer and others) track the President (Gregory Harrison) and make the final attempt on his life at a Washington State Park on a mountain tram. Can the head (Daryl Hannah - replacing Mariel Hemingway from the first film in the series) of his Secret Service save him? Doug Savant also appears as the agent's boy friend who is trying to propose to her and keeps getting interrupted. 中文剧情： 机密间谍捕快艾莉（黛瑞汉娜 饰）的职责是守卫寰球最主要的人物：美国总统,她跟精英警卫构成的平安小组担任监控总统平安。但是,劳碌的任务使她跟男友葛兰特多少乎不相处时光。西雅图耗资甚钜的空中缆车行将开工,总统预备到达外地直接连续串造势运动,还提议葛兰特偕行,填补他跟艾莉老是难过会晤的遗憾。此时,艾莉一个间谍挚友新奇丧命于游艇上,独一的线索是一台数位相机,此中的相片表现一名可疑金发男子涉有重嫌。就在预备总统平安事件的同时,艾莉惊觉那名男子竟也是总统要在西雅图会面的人物之一,而眼看总统就要跟这名刺客背靠背了....

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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 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.

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After a spectacularly botched spook show, Hui Buh receives a plea for help from the young witch Ophelia. She is trying to keep a powerful spell-book out of the hands of the ruthless witch Erla.