康拉德·弗农刘易斯·塞勒
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他是一只穿靴子的猫（安东尼奥·班德拉斯 Antonio Banderas 配音），多年来行侠仗义，行走江湖，剑术高明，胆大卖萌，虽是官兵通缉捉拿的要犯，但从来都无所畏惧，泰然自若。在某个极不友好的小酒馆里，靴猫听说杰克（Billy Bob Thornton 配音）和吉尔 （Amy Sedaris 配音）这对雌雄恶棍拿到了传说中的魔豆，魔豆长出的豆荚直通巨人的宫殿，而那里住着令人垂涎可以下金蛋的鹅。靴猫决定铤而走险劫掠魔豆，却遭到神秘的黑猫阻挠。在黑猫引诱下，他来到一处猫儿聚会的场所，结果意外遇到当年孤儿院的好友矮蛋（Zach Galifianakis 配音），黑猫则是性感的小母猫咪·柔爪（萨尔玛·海耶克 Salma Hayek 配音）。
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讲述一个伦敦家庭的儿子在被一个杰出的好莱坞电影制作人性侵之后，他们做出了一个艰难的决定——接受金钱赔偿，开始新生活。但很快他们就发现，金钱远远无法弥补这件事对他们的儿子造成的创伤。
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When a family of four rent a beautiful house for their summer vacation, the price seems too good to be true. Unbeknownst to them, the lascivious owner has set up a series of spy cams throughout the house, documenting their most intimate moments and live streaming them to the dark web.
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When a family of four rent a beautiful house for their summer vacation, the price seems too good to be true. Unbeknownst to them, the lascivious owner has set up a series of spy cams throughout the house, documenting their most intimate moments and live streaming them to the dark web.
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Malvís (Alfredo Landa) is sick of working like crazy for nothing. He'd rather become a bandit, that's much better, he's gonna be the fearful Fendetestas! He'll spread panic in the woods of his region. But there's a little problem there aren't much people living in his region, everyone knows everyone and everyone is so poor, so is gonna be difficult that someone takes MalvísFendetestas too seriously. This is a magic history, so funny, and full of situations that will make you laugh. It's also full of characters that belong to the Spanish idiosyncrasy the strict priest, the Guardia Civil, the old devout women, the village idiot... there's even a lost soul wandering around the woods. The great Alfredo Landa heads a cast that gathered together the best two generations of Spanish scene from Fernando Rey to Encarna Paso, from Manuel Alexandre to María Isbert... A cast like that would be just unthinkable nowadays. El Bosque Animado was the first movie of José Luis Cuerda's trilogy of rural comedies (after this one he made the surreal Amanece Que No Es Poco, and Así En El Cielo Como En La Tierra. Those are movies so personal that stress the Spanish culture. The young directors should take note of films like El Bosque Animado, instead of trying to be the new enfant terrible and imitating US worst cinema.
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Novelist Joseph Shearing specialized in using real cases which took place in Victorian England, altering them for fictional purposes. MOSS ROSE in 1947 was the first film to be made from his novels, then in 1948 two of his works were adapted for the screen, this film and THE MARK OF CAIN. The movie stars Todd as a recently widowed missionary returning to her home in England from Jamaica. During the voyage, she meets Milland, a charming though dangerous rascal who is wanted by police in connection with some unsavory dealings. Milland contracts malaria while onboard the ship and Todd nurses him back to health. In London, Todd settles into her home, taking in boarders to make ends meet. Milland arrives, moves in, and proclaims his love for her. Todd is thrilled, but it seems rather obvious that Milland is only toying with her. Milland finds some letters written to her by her friend, Fitzgerald, in which Fitzgerald reveals some of her sexual indiscretions. Since Fitzgerald is now married to the wealthy Huntley, Milland believes he can use the letters to blackmail Fitzgerald. Todd's love for Milland is so great that she goes along with the plan. Huntley, however, learns of the scheme and also uncovers details of Milland's shady past. Fearing for her lover's safety, Todd poisons Huntley, then remains silent when Fitzgerald is arrested for the murder. Milland has by now genuinely fallen in love with Todd and the two make plans to leave England. Before they can depart, one of Milland's former lovers shows up and Todd, in a jealous rage, kills Milland, then turns herself into the police. This is an intriguing film, although a little on the talky side. The performances are excellent throughout, with Milland shining as the cad, the type of role in which he excelled. Though he spent most of his time making films in the US, he occasionally returned to his native England for a production and this was his first British film since FRENCH WITHOUT TEARS in 1939. Director Allen was also an Englishman who chose to work in the US, this being his first directorial effort in his homeland. This was the fourth and last time Milland and Allen would work together, their pairing having begun in 1944 with the wonderfully eerie THE UNINVITED.
