479
2.0

黄金劫案 第一季

导演:
阿奈尔·卡里亚,劳伦斯·高福
主演:
休·博纳维尔,杰克·劳登,多米尼克·库珀,夏洛特·斯宾塞,斯蒂芬妮·马蒂尼,埃蒙·埃利奥特,肖恩·吉尔德,埃洛拉·托尔基亚,Robyn,Betteridge,索菲亚·拉·波塔,Isabella,Nefar,Anil,Desai,伊恩·皮里,西恩·哈里斯,汤姆·库伦,弗兰基·威尔森,乔治·泰勒,鲍勃·克赖尔,吉安尼·卡尔切蒂,罗曼·朔姆堡,塔祖·卡尔瓦略,特蕾莎·马奥尼,吴国耀
别名:
未知
2.0
479人评分
英语
语言
未知
上映时间
未知
片长
简介:
BBC与Paramount+合作的这部六集剧集取材于有着“世纪之罪”之称的Brink’s-Mat抢劫案。 1983年11月26日,六名带有武器的劫匪在希思罗机场附近的Brink’s-Mat仓库,原本策划实施现金抢劫的他们,却阴差阳错发现了由庄信万丰公司持有、多达3000公斤的金条;最后,他们掠夺了价值2600万英镑的黄金、钻石和现金,并成功逃脱。抢劫之后的大部分黄金都没有被追回,也仅有其中两名参与者被定罪。但这次重大的事件却造成了各种余波:曾经的庄信万丰银行陷入危机最后倒闭,伦敦码头区房地产涌入了脏钱,也流进各种国际范围的犯罪活动;至于“Brink-Mat的诅咒”也悄然而起,因为当初参与的人在后续的几十年前都最终死于枪杀。
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马丁·弗罗斯特的内心生活
8.0
上映时间:06062025630050303am25
主演:大卫·休里斯,伊莲娜·雅各布,迈克尔·因佩里奥利,索菲·奥斯特
简介:  what motivated me up to the new director's festival to catch 'martin frost' tonight was the brutal review that it got yesterday from the lead critic of the new york times, brutal dismissal, to be more accurate, 'the less said about (it) the better', she said, and i figured that any movie able to teach Ms Dargis the virtue of silence for even a few column inches would be worth the trip.  and worth the trip it was. we are brought into a paradise of limpidly beautiful visual textures. the oaken rhythms of a country house ensconced in a springtime parkland of luxuriant trees and luminous skies bestow the soothing natural blessing needed by the main character, martin frost (David Thewlis), a writer rubbed raw by the mechanics of finishing a novel in new york city. (Thewlis makes palpable the casualty of intrapsychic machinery sawed into daemonic reverb against the banausic hive). then paradise morphs into purgatory, leavened comedically, in Dante's sense, by the postmodern angelic visitations of Claire (Irene Jacobs) and Anna (Sophie Auster).  unfortunately, to my taste, the verbal dimensions of the film are flaccid, the logic more fanciful than imaginative, the narrative arc crippled by some irredeemably creaky plotting, especially at the crucial initiation of the relationship between martin and Claire where the seeds of common sense are thrown to the magpies of theatricality.  but so beguiling is the willful vulnerability of auster's fantasy, and the edgy interplay that it potentiates between Thewlis and Jacobs, and the camera, and later Sophie Auster, and the broad comedy of a rural everyman (Michael Imperioli), that it is very pleasant to be carried along on the visual foam of uncertain sensual delight, eddying into a feeling that this film's oddly louche light touch is uniquely adept at tracing some grave lineaments of the human heart.  go innocently.
534
正片
马丁·弗罗斯特的内心生活