跟着爸爸去露营
地区:内地
  类型:二战
  时间:2025-04-28 17:07:31
剧情简介

这是一个小女孩的冒险故事,爸爸生活在维多利亚时代的女孩温迪(雷切尔·霍伍德 饰),爸爸出生在压抑的环境中,还整天被一个呆板顽固的父亲,扼杀她童年的快乐和梦想。温迪的好朋友约翰和米高,也遭受着同样的痛苦,他们梦想着有一天,能够学会在天上飞,这样他们就可以飞离令他们讨厌的家了。终于有一个黑暗的夜晚,长着乳牙的小飞侠彼得·潘(杰里米·森普特 饰),飞到了他们的窗前,说要教会他们飞翔,带他们去一个美丽的地方。温迪、约翰和米高都高兴极了,于是,他们很快就跟着小飞侠学会了飞,而且飞到了一个美丽的海岛——梦幻岛。原来,小飞侠是梦幻岛上永远也长不大的调皮小孩,他和小仙子一起生活在这个岛上,但两个人觉得多少有点寂寞,于是就请来了云蒂他们三个梦想飞的人类小孩。飞到梦幻岛,温迪立刻被这个美丽而神秘的海岛吸引住了,这里有茂密的丛林、高大的树木,还有野蛮的印第安人,以及横行附近海面的坏蛋海盗。小飞侠带着温迪他们找到了六、七个隐蔽的树洞,这就是他们在梦幻岛上的家,平时他们在海盗的深处探险,晚上累了就回到树洞休息游戏。温迪、约翰和米高本来可以在梦幻岛开心地嬉戏玩乐,和小飞侠与小仙女两位神秘朋友快乐的生活,优哉游哉,岂料,无恶不作的海盗铁钩船长(詹森·艾萨克 饰)带着他的一帮海盗前来大肆破坏。勇敢的小飞侠,这次要营救他的好朋友离开梦幻岛,为此他要与铁钩船长展开一轮激战……

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明星主演
李威
黄心懋
王露凝
最新评论(313+)

宋佳

发表于2分钟前

回复 :学校里流传着一个传说。很多年前,一名清洁工打扫卫生时,在电梯间里发现了一具遇害的教授尸体,他的脖颈几乎被完全割断。警方来到现场勘查,凶手没有留下任何蛛丝马迹,然而被害者的手机却怎么也找不到。林哲是一名大一新生,长相帅气的他很快在学校里交到了女朋友,并且还受到不少女生的关注。夜晚,林哲一如既往的先打给苏巧巧,可是没想到苏巧巧在那边却惨遭杀害,林哲通过视频聊天目睹了她被害的全部过程,却惟独没有看到犯人的脸,由此揭开了惊悚恐怖的探案故事。


藤井郁弥

发表于8分钟前

回复 :Would you believe in a policewoman who suffers from such serious panic disorders that she is afraid to get close to any crime scene and has been on permanent office duty for more than a decade? Would you believe a lone mother who is unfit to pay her mortgage and also raise her rebellious teenage daughter? Indeed, no one believes that the troubled ex-detective has discovered a serial murder case. Personal dramas and a murder mystery unfold in present-day Budapest, where demonstrations are part of the pre-election life of a city still trying to cope with the shadows of its historical and recent past. It is a city where nothing seems honest and true, except through the eyes of an emotionally unstable policewoman and her misfit daughter who wants to know who her father truly was.入围第32届华沙电影节新导演单元


徐芷颀

发表于6分钟前

回复 :The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years.At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with.But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood.I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential.by D.R. SHIMON@lounge.moviecodec.com


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