备注：已完结
类型：剧情电影
主演：ShawnAshmore JoanneWhalley DavidSuc
导演：AlexChapple
语言：English
年代：未知
简介： ◎译 名 911心灵航程 ◎片 名 Diverted ◎年 代 2009 ◎国 家 加拿大/英国 ◎类 别 剧情 ◎语 言 英语 ◎字 幕 中文 ◎IMDB评分6.5/1094votes ◎文件格式 DVD-RMVB ◎视频尺寸 624x352 ◎文件大小 1CD ◎片 长 85Mins ◎导 演 AlexCha le ◎主 演 肖恩·阿什莫ShawnAshmore...MikeStiven 大卫·苏切特DavidSuchet...SamuelStearn 琼妮·威利JoanneWhalley...MarionPrice ColinBuchanan...AndrewTyler AnitaMajumdar...AliaRamaswami LiisaRe o-Martell...EileenNorthbrook AnoushaAlamian...JamalHassani KarenLeBlanc...Nadine MarkCaven...Ca tainMontgomeryCrawford ◎简 介 英国奥斯卡影帝提名大卫舒却特 英国奥斯卡影后提名琼安华莉 【X战警3：最后战役】尚恩艾许莫 最悲惨的时刻，最动人的一段心灵航程 2001年9月11日，美国遭受本世纪最惨烈的恐怖攻击。而当时在美国领空中预定降落的39班航机，则全数遭到拒绝入境，一架客机被迫降落在加拿大纽芬兰乡间，机上乘客各式各样，有尖酸刻薄的企业家、行为古怪的寡妇、婚姻不幸福的男子及来自美国的音乐家，他们的行程全因此被打乱，但他们的人生却因这段迫降而出现转机，这是一个在最悲惨的时刻，发现希望及人性良善的动人故事。 < class="comment">《911心灵航程电影网友评论》如果用国人的眼光来看，甘德兰小岛的人好假，做起好事来争先恐后，有没有学雷锋日...但如果这些都是真的呢？在西方社会的普世价值观中，爱是一种无时无刻不在存在着的常态，也许，她让人们对她的突然而至的热忱有些措手不及，但是，即使是911事件也不能阻挡这种爱带给我们的温暖和可爱的居民们。 < class="com">应景的日子看个应景的片儿，空姐长得很像我一同事啊。Gander这样一个加拿大小岛，就在这样特殊的日子里，经历着多少人的悲喜。对阿拉伯兄弟的桥段感慨一下，我觉得人真是应该安身立命，不要太过争取不属于自己的东西。即使得到了，终究会失落。 < class="com">911相关题材影片，故事的切入点很新颖。讲述袭击发生后因美国领空封锁而被迫滞留加拿大的乘客的故事。不同于伤痕系的沉重冷峻，本片表现了无私、团结、互助等美好的人类情感，充满浓浓的人情味，看后倍感温暖，故属于治愈系。 < class="com">关于911，关于灾难降临时的人们。。真感受到中国和人家的差距。在面对灾难的时候，我们只会捐钱，而他们是行动，是真正的大爱。。或许我这样说很偏颇，但是这也是我们的国情决定的吧。 < class="com">911成了展示人性的踏板和契机，虽然危难之中人们所表现出对陌生人的关怀和热情帮助是我所向往的，但这片子确实都快拍成加拿大Gander小岛宣传片了.... < class="com">再现９１１时的情景，这一会只不过是电视屏幕里的一晃眼。影片关注的重点是由此而引发的航班上的人群他们的情感和心理变化。还是看的一下的！ < class="com">这一看就是加拿大拍的。拍得特别圣人。不过联想联想还是比较感动的。只为心底的那一抹善良。 < class="com">一部电影，让我记住了Gander这座小城。人生中会有不测风云，也会有不期而遇。 < class="com">好像是加拿大小镇为自己歌功颂德的片子。人都得在非常态时才能有些许的人情味儿么。 < class="com">感觉很真实。加拿大小岛的人们表现太好了。好客，业务水平高，服务态度好，人性化。 < class="com">真是一部感人的电影，虚伪的西方人竟然拍着这么好，哎，看来中国电影真应该反思啊！ < class="com">简单、动人……生命中你永远不知道将会遇到哪些人，而这些人有可能改变你的一生。
备注：已完结
类型：剧情电影
主演：Bob Dylan Joan Baez Judy Collins
语言：
年代：未知
简介："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.
