《戰場的賦格曲》開發商：福瑞控很喜歡我們的游戲
理查德單身多年，朋友通知理查德帶上女友參加婚禮。理查德使用一款交友軟件認識了名為Arini的女孩。軟件規定兩人需按照合約在一起45天，理查德的世界開始悄然變化。
從實驗室到千萬家：曾運雄教授與AKK菌的二十三年，改寫人類健康的“腸道密碼”
鳳岡：科技加持 “牛人”唱響“新牧歌”
Whenever I see La Paura I think of it as a companion piece to Eyes Wide Shut, or maybe it is the other way around. Adultery makes both films tick but in different ways. I think Phillip French was right on the money when he pointed out a Wizard of Oz thing in Kubrick's last work. Like Dorothy, Tom and Nicole go through fantasies and nightmares and at the end Dorothy's reassuring childish motto there's no place like home is ironically updated to the adult circumstantial adage there's no sex like marital sex. Kubrick's take is intellectual, he never leaves the world of ideas to touch the ground. He taunts the audience first with an erotic movie and then with a thriller and refuses to deliver either of them. He was married to his third wife for 40 years, until he died. Rossellini was still married to Ingrid Bergman when he directed La Paura; they had been adulterous lovers and their infidelity widely criticized La Paura is a tale, a noirish one. The noir intrigue is solved and the tale has a happy ending. The city is noir; the country is tale, the territory where childhood is possible. The transition is operated in the most regular way by car, a long-held shot taken from the front of the car as it rides into the road, as if we were entering a different dimension. Irene (Bergman) starts the movie we just see a dark city landscape but her voice-over narration tells us of her angst and informs us that the story is a flashback, hers. Bergman's been cheating on her husband. At first guilt is just psychological torture but soon expands into economic blackmail and then grows into something else. From beginning to end the movie focuses on what Bergman feels, every other character is there to make her feel something. Only when the director gives away the plot before the main character can find out does he want us to feel something Bergman still can't. When she finds out, we have already experienced the warped mechanics of the situation and we may focus once again on the emotional impact it has on Bergman's Irene. In La Paura treasons are not imagined but real, nightmares are deliberate and the couple's venom suppurates in bitter ways. Needless to say, Ingrid has another of her rough rides in the movies but Rossellini doesn't dare put her away as he did in Europa 51, nor does he abandon her to the inscrutable impassivity of nature (Stromboli). His gift is less transcendent and fragile than the conclusion of Viaggio in Italia. He just gives his wife as much of a fairy tale ending as a real woman can have, a human landscape where she can finally feel at home. Back to the country, a half lit interior scene where shadows suggest the comfort of sleep. After all, it's the fairy godmother who speaks the last words in the movie.
《惡魔之語》使用真實的錄音剝離犯罪的每一層，從警察采訪到錄制的電話和語音郵件，以全新的形式展現謀殺的一系列事件。
西山居新一代經典武俠《劍俠世界4無限》首次震撼公布
托托和他的朋友們必須在他們被帶走參加非洲美食活動后救出他的蛋孩子。
河北五超·微視頻丨河北五超第四輪比賽定州33戰平衡水 6個進球個個精彩
在世界幾乎完全被環境災難淹沒和污染之后，只有一小部分人類能夠逃到太空殖民地開普勒星球尋求救贖。在太空中度過多年后，開普勒星球面臨著威脅人類的危險，太空輻射誘發了人類不育危機。為了應對這個危機，由精英宇航員布萊克領導的載人飛行任務派人去探尋地球是否能再次居住的可能性，以及人類是否還有任何延續的希望。回到地球后，布萊克震驚地發現被他們拋棄的地球上還有一群名為泥濘的幸存人類一直生活著，他們在萬難的環境中幸免于難。當她試圖在開普勒星球上與她的人聯系時，地球卻又開始發生變化……