藍西莫以馬丁這個陰沈詭異的角色，透過不斷挖掘默菲一家的內幕黑影，並且帶入無朋的超自然力量，不只崩解這一家人的和睦關係，還狠狠地挖苦父權、科學、與理性，嘲諷這些當代主流的荒謬。

電影戲劇

觀點

文化生活

釀影評｜《聖鹿之死》：渺小的人類，你以為你是哪根蔥啊～～！

釀影評｜《聖鹿之死》：渺小的人類，你以為你是哪根蔥啊～～！

《返校》的特出之處不只是呈現恐怖，而是直截了當地說出恐怖的根源：校園為何恐怖？因為它是整個社會當中，殘留最多黨國符號、最多威權痕跡之處。每個台灣人都上過台灣的學校，也因此每個人都經歷過一場小型的戒嚴。在那個小小的空間裡，有不可挑戰的權威、無法動搖的權力關係、鼓勵告密的文化，更有排除異己的蠻橫教條。

藝文

釀影評｜《返校》：學校的陰森，是因為政治的恐怖

我人生最大的衝擊就是「做動畫」，當我孤立無援，想辦法去克服每一件大家都認為辦不到的事情的時候，我就很想跟人們說，「其實在做動畫，根本就是在造神」。有一次演講時我說到：「如果神不存在，只有自己造出來」，這句話是我內心的投射。我們都不相信台灣可以做動畫，所以真的做的時候，就跟造神一樣。

釀特務｜台灣．巨大機器人．物語──專訪《重甲機神：神降臨》導演黃瀛洲

約翰沒發現，他的敵手不是幾隻蜘蛛，而是一整張蜘蛛網，這些女性是無法「各個擊破」的，她們的敏感度令彼此相連、牽制，而命運造成她們必需互相依存，只要想求生，就得維持這種狀況。

釀影評│《魅惑》：「惡」女背後的情非得已

釀影評│《魅惑》：「惡」女背後的情非得已

《小丑》意圖借助挑釁來完善深刻的同情，而這樣一種剝削式策略最終能成功，或許真的也是時勢所趨，而這個時勢所趨本身即是一個巨大的笑點。電影過於強烈、單薄的價值取捨與它的堅強現實感兩者間碰撞出的火花，在後設層次上，如今看來就像是對目前自詡為關懷社會、關懷藝術的文藝電影和左派理想的一種憤怒。

釀影評｜《小丑》：犬儒主義者的黑暗兵法

Taxi Driver movie clips: http://j.mp/1iS0mkM
BUY THE MOVIE: http://amzn.to/rUvwen
Don't miss the HOTTEST NEW TRAILERS: http://bit.ly/1u2y6pr

CLIP DESCRIPTION:
Travis (Robert De Niro) expresses his feelings about the filth of the city with his politician passenger, Palantine (Leonard Harris).

FILM DESCRIPTION:
"All the animals come out at night" -- and one of them is a cabby about to snap. In Martin Scorsese's classic 1970s drama, insomniac ex-Marine Travis Bickle (Robert De Niro) works the nightshift, driving his cab throughout decaying mid-'70s New York City, wishing for a "real rain" to wash the "scum" off the neon-lit streets. Chronically alone, Travis cannot connect with anyone, not even with such other cabbies as blowhard Wizard (Peter Boyle). He becomes infatuated with vapid blonde presidential campaign worker Betsy (Cybill Shepherd), who agrees to a date and then spurns Travis when he cluelessly takes her to a porno movie. After an encounter with a malevolent fare (played by Scorsese), the increasingly paranoid Travis begins to condition (and arm) himself for his imagined destiny, a mission that mutates from assassinating Betsy's candidate, Charles Palatine (Leonard Harris), to violently "saving" teen hooker Iris (Jodie Foster) from her pimp, Sport (Harvey Keitel). Travis' bloodbath turns him into a media hero; but has it truly calmed his mind? Written by Paul Schrader, Taxi Driver is an homage to and reworking of cinematic influences, a study of individual psychosis, and an acute diagnosis of the latently violent, media-fixated Vietnam era. Scorsese and Schrader structure Travis' mission to save Iris as a film noir version of John Ford's late Western The Searchers (1956), aligning Travis with a mythology of American heroism while exposing that myth's obsessively violent underpinnings. Yet Travis' military record and assassination attempt, as well as Palatine's political platitudes, also ground Taxi Driver in its historical moment of American in the 1970s. Employing such techniques as Godardian jump cuts and ellipses, expressive camera moves and angles, and garish colors, all punctuated by Bernard Herrmann's eerie final score (finished the day he died), Scorsese presents a Manhattan skewed through Travis' point-of-view, where De Niro's now-famous "You talkin' to me" improv becomes one more sign of Travis' madness. Shot during a New York summer heat wave and garbage strike, Taxi Driver got into trouble with the MPAA for its violence. Scorsese desaturated the color in the final shoot-out and got an R, and Taxi Driver surprised its unenthusiastic studio by becoming a box-office hit. Released in the Bicentennial year, after Vietnam, Watergate, and attention-getting attempts on President Ford's life, Taxi Driver's intense portrait of a man and a society unhinged spoke resonantly to the mid-'70s audience -- too resonantly in the case of attempted Reagan assassin and Foster fan John W. Hinckley. Taxi Driver went on to win the Palme d'Or at the Cannes Film Festival, but it lost the Best Picture Oscar to the more comforting Rocky. Anchored by De Niro's disturbing embodiment of "God's lonely man," Taxi Driver remains a striking milestone of both Scorsese's career and 1970s Hollywood.

CREDITS:
TM & © Sony (1976)
Cast: Robert De Niro, Leonard Harris
Director: Martin Scorsese
Producers: Phillip M. Goldfarb, Julia Phillips, Michael Phillips
Screenwriter: Paul Schrader

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Taxi Driver (3/8) Movie CLIP - Travis Supports Palantine (1976) HD

當能拍出這麼溫厚、討喜、誰都要感覺良好的作品，還會有什麼理由，要重回險隵的闇黑之海？太多徒勞、太少瞭解，那麼孤獨的浮沈。這是一個全新時刻的到來了。而或許所有新紀元的啟動，都得交換由某個神話的終結。

釀影評｜諾蘭神話的終結：《敦克爾克大行動》

釀影評｜諾蘭神話的終結：《敦克爾克大行動》

本該做為故事核心的方芮欣的悲劇，便是電影「強解為自由」這一詮釋下的最大受害者。它把個體在一個不正義的系統下所承受的、只屬於自己的那分獨一無二的磨難給獻祭了，而獻祭的對象是誰呢？就是方芮欣這個人物以其設計而言，根本不可能感興趣或理解的、對未來的某種政治共同體想像。

釀影評｜《返校》：那些政治的、太政治的事情

愛情二字，或許足夠闡述《霸王別姬》的悲劇，卻不足以道盡程蝶衣的靈魂。他這一生擁有的實在太少，於是剩下的那些，都成了他拼命「要」的──一個愛人、一個師傅、一項志業，這就是他的「一輩子」。師父說的那句「從一而終」，他當真了，卻為此生了一輩子的氣，不解為何虞姬還穿著魚鱗甲，霸王卻能甩手摘下黑旗？

釀影評｜《霸王別姬》：容許我一生未見，卻一世想念

如果安達沒有魔法，按照他的個性將永遠不會知道黑澤對他的心意，因此當他接受了黑澤的告白，並認為自己或許就是為了觸碰他的內心而擁有魔法時，愛情又繞回了最初始，也最單純的認知：被愛，也被需要的幸福。那不只是單純的「我是為了他而生」，而是明白自己的存在成為某個人快樂與哭泣的原因，明白自己能夠愛人，也值得被愛

釀選劇｜被愛的你敢愛人嗎？既奇幻又寫實的《如果30歲還是處男，似乎就能成為魔法師》

《相愛相親》是張艾嘉自 1981 年以來所執導的第 14 部電影，可以同時自編自導自演，把三件事一起做好的女性影人，放眼世界影壇，除了芭芭拉．史翠珊之外，恐怕也只有張艾嘉能做到這種境界。

釀影評｜《相愛相親》——張艾嘉寫給人生的情書

【ROCK BEYOND】
不管世事變化多快，在音樂的世界裡   一切     海闊天空

BEYOND【海闊天空】『beyond的精彩 LIVE & BASIC』Official Live Video → https://youtu.be/-obQ12UWZgQ

珍惜BEYOND過去的十年  期待BEYOND未來的無數年
〈海闊天空〉是黃家駒為BEYOND成立十週年而作的，
刻劃著他們十年來的心路歷程。
記得與家駒談到此首歌的原創動機時，他的情緒是百感交集的。
他曾說過，BEYOND十年裡起起伏伏，
曾意氣風發、也會感到疲倦、甚至無奈。
可還是很幸運，作音樂那麼久，仍不被外來的阻力腐化或變質。
而仍有眾多樂迷肯定BEYOND、支持BEYOND，
這也成為BEYOND永遠奮鬥的力量。
哪怕只有一個人支持，BEYOND永遠奉獻於音樂。


海闊天空
作詞：黃家駒
作曲：黃家駒

今天我 寒夜裡看雪飄過
懷著冷卻了的心窩漂遠方
風雨裏追趕 霧裡分不清影蹤
天空海闊你與我 可會變 (誰沒在變)

多少次 迎著冷眼與嘲笑
從沒有放棄過心中的理想
一剎那恍惚 若有所失的感覺
不知不覺已變淡 心裡愛 (誰明白我)

原諒我這一生不羈放縱愛自由
也會怕有一天會跌倒
背棄了理想 誰人都可以
那會怕有一天只你共我

今天我 寒夜裡看雪飄過
懷著冷卻了的心窩漂遠方
風雨裏追趕 霧裡分不清影蹤
天空海闊你與我 可會變 (誰沒在變)

原諒我這一生不羈放縱愛自由
也會怕有一天會跌倒
背棄了理想　誰人都可以
那會怕有一天只你共我

仍然自由自我
永遠高唱我歌走遍千里

原諒我這一生不羈放縱愛自由
也會怕有一天會跌倒
背棄了理想 誰人都可以
那會怕有一天只你共我

背棄了理想 誰人都可以
那會怕有一天只你共我

原諒我這一生不羈放縱愛自由
也會怕有一天會跌倒
背棄了理想　誰人都可以
那會怕有一天只你共我

歡迎訂閱滾石唱片YouTube官方頻道→https://goo.gl/QpVluI

.

BEYOND【海闊天空】Music Video

釀影評｜《相愛相親》——張艾嘉寫給人生的情書

經過這十年，漫威用時間讓我看見，我多麼深愛這堆各有特色、大多對於插科打諢很在行、也像平凡人那樣有弱點會做蠢事、但遇到危難總是挺身而出勇敢保護大家的超級英雄。《復仇者聯盟3：無限之戰》是一份精心為粉絲準備的禮物，也讓我期待這群英雄能繼續給大家下一個十年的精彩。

釀專題｜時間證明了我有多愛你們——《復仇者聯盟3：無限之戰》

釀專題｜時間證明了我有多愛你們——《復仇者聯盟3：無限之戰》

觀眾在被娛樂的同時，還能感動又惆悵、一路邊哭邊笑的原因，要歸因於編劇與導演處理幾位重要元老角色的慎重及尊重，以及投注的深厚情感。安排他們在勝利機會渺茫的終局之戰，對抗似乎已寫定的天命，使這些英雄更接近無奈無助的凡人，產生的勇氣也更為偉大——他們挺身而出並非對自己有任何信心，而是「非如此不可」的決心。

釀影評｜《復仇者聯盟4：終局之戰》：無可奈何花落去，似曾相識燕歸來

我一直覺得每部戲都有自己的命運，演員能做的就是在表演當下盡力，其他的不用想太多。這個戲會不會被喜歡，票房或收視，觀眾的反應等等，如果這些都考慮進去的話，表演就變質了。演戲對我來說比較像是創作，有時也是自我探索跟療癒，這件事還是不要有太多雜質，純粹一點比較好。表演就是表演。

健康與情感

國際

釀人物｜對自己好一點就是「每次都做出更順從內心的決定」！──專訪柯佳嬿談《一家之主》

或許這才是《二十五，二十一》真正的題眼──它不宣揚圓滿和初戀在一起、成功實踐年少夢想目標的童話，而是給那些沒能成為理想中大人的人們，一次回首過往的不成熟、並肯認由這些不成熟所構成的自己的機會。能在海邊恣意大喊青春的夏天終會消逝，無論對過往抱有遺憾與否，只要用心感受當下，每一刻都是最好的時辰。

釀選劇｜《二十五，二十一》：我們之所以是我們，現在之所以是現在

恰如日劇《四重奏》所點明的：許多時候，我們的人生就像是一顆甜甜圈，在《媽的多重宇宙》中則是貝果，少了那一個洞，就不算是完整。為此，與其追求他人眼中的完美，倒不如潛入內心，學習跟頑強的執著達成和解──沒有意義也好，缺少足夠的成就也罷，只要心安理得，說服得了自己，幸福兩字隨人寫。

釀影評｜《媽的多重宇宙》：人生像顆貝果，有洞才算完整

《奇異博士2》不會是漫威電影系列最優秀的作品，也不會是山姆雷米生涯裡最優秀的作品，但會是漫威與山姆雷米的合作裡，令觀眾留下深刻印象的作品之一。他成功被捧上天過，也失敗被痛批過，如今捲土重來，他也只是像古一大師在史傳奇頭上輕輕一點：「Open You Eye」

釀影評｜《奇異博士2：失控多重宇宙》：失控的不是多重宇宙，而是山姆雷米與凱文費吉

Michael Giacchino – Spider-Man: No Way Home (Original Motion Picture Soundtrack) – Shield of Pain 
Listen to the full soundtrack here: https://soundtracks.lnk.to/SpiderManNWH

ABOUT SPIDER-MAN: NO WAY HOME 
For the first time in the cinematic history of Spider-Man, our friendly neighborhood hero's identity is revealed, bringing his Superhero responsibilities into conflict with his normal life and putting those he cares about most at risk. When he enlists Doctor Strange’s help to restore his secret, the spell tears a hole in their world, releasing the most powerful villains who’ve ever fought a Spider-Man in any universe. Now, Peter will have to overcome his greatest challenge yet, which will not only forever alter his own future but the future of the Multiverse.

ABOUT MICHAEL GIACCHINO
Composer MICHAEL GIACCHINO has credits that feature some of the most popular and acclaimed film projects in recent history, including The Incredibles, Coco, Jojo Rabbit, Ratatouille, Star Trek, Jurassic World, Rogue One: A Star Wars Story, SpiderMan: Homecoming and War for the Planet of the Apes. Giacchino’s 2009 score for the Pixar hit Up earned him an Oscar®, a Golden Globe®, the BAFTA, the Broadcast Film Critics' Choice Award and two GRAMMY® Awards. Giacchino studied filmmaking at the School of Visual Arts in NYC. After college, he landed a marketing job at Disney and began studies in music composition, first at Juilliard, and then at UCLA. He moved from marketing to producing in the newly formed Disney Interactive Division where he had the opportunity to write music for video games. After moving to DreamWorks Interactive, he was asked to score the temp track for the video game adaptation of The Lost World: Jurassic Park. Subsequently, Steven Spielberg hired him as the composer and it became the first PlayStation game to have a live orchestral score, recorded with members of the Seattle Symphony. Giacchino went on to score numerous video games including Spielberg’s Medal of Honor series. Giacchino’s work in video games sparked the interest of J.J. Abrams, and thus began their long-standing relationship that would lead to scores for the hit television series Alias and Lost, and the feature films Mission Impossible III, Star Trek, Super 8 and Star Trek Into Darkness. Additional projects include collaborations with Disney Imagineering on music for Space Mountain, Star Tours (with John Williams), the Ratatouille ride in Disneyland Paris, and the Incredicoaster on Pixar Pier at California Adventure. 

SUBSCRIBE to our channel for more: 
► https://lnk.to/sonysoundtracks

FOLLOW SONY SOUNDTRACKS:
► Facebook: https://www.facebook.com/SonyMusicSoundtracks/
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► Twitter: https://twitter.com/sonysoundtracks/

Track List:
1 Intro to Fake News
2 World's Worst Friendly Neighbor
3 Damage Control
4 Being a Spider Bites
5 Gone in a Flash
6 All Spell Breaks Loose
7 Otto Trouble
8 Ghost Fighter in the Sky / Beach Blanket Bro Down
9 Strange Bedfellows
10 Sling vs Bling
11 Octo Gone
12 No Good Deed
13 Exit Through The Lobby
14 A Doom With a View
15 Spider Baiting
16 Liberty Parlance
17 Monster Smash
18 Arc Reactor
19 Shield of Pain
20 Goblin His Inner Demons
21 Forget Me Knots
22 Peter Parker Picked a Perilously Precarious Profession
23 Arachnoverture

#spidermannowayhome #michaelgiacchino #ShieldofPain

Shield of Pain | Spider-Man: No Way Home (Original Motion Picture Soundtrack)

Just a little video I did up with the interview Bruce did to explain the connection coupled with underlying footage to illustrate what he is talking about.

Bruce Campbell explains Evil Dead 1 & 2 Connection, with Visual Proof

Doctor Octopus Kills The Doctors - Horror Hospital Scene - Hospital Arms Attack - Otto Octavius Fight scene - Spider-Man 2 (2004) Movie CLIP HD [1080p HD]
1,500,000 SUBSCRIBERS!!! THANK YOU SO MUCH !!!

TM & © Sony (2004)
Fair use. 
Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. No copyright infringement intended.

Doctor Octopus - Horror Hospital Scene - Spider-Man 2 (2004) Movie CLIP HD

[PLEASE READ DESCRIPTION]

This is my favorite scene from movie "Doctor Strange"
This is just one short trippy scene that i shared with you..i would love to hear what you think about this amazing scene from such cool movie.

I created this video but i don't take any credits..i don't own this movie, neither i earn any money on this video
This video is just for fun purposes to show you my favorite movie scene from this amazing movie and to hear what you think about this cool scene

Director: Scott Derrickson
Producer: Kevin Feige
Writters: Jon Spaihts, Scott Derrickson, C. Robert Cargill
Movie Series: Doctor Strange
Based on Doctor Strange book that was written by: Stan Lee, Steve Ditko
Movie was first released: 13. October 2016 (more then 3 years ago)
Music by: Michael Giacchino
Production company: Marvel Studios 
Disney is owner of copyright (Distributed by Walt Disney Studios Motion Pictures)

I repeat i don't own this movie and i won't earn any money on this video
i only want to hear your thoughts about this amazing scene from this awesome movie








If you wonder how i published it without being removed for copy-right

Well first it was..then i fill complaint and contacted Youtube and Walt Disney Studios Motion Pictures and explained them why i want to publish it..few days later i got permission from both of them to publish this video without any restrictions...i also have full permission on this video i can even earn money but i would never do that..because i'm not interested in earning any money from it..i just wanted to show other people this cool scene from this amazing movie

Here is proof about copyright:
https://i.imgur.com/SKzo6tS.png

 

Soon i will publish few more cool scenes (4K without any ads or custom intro/ending)
Probably next clips will be from: Matrix, Transcendence, Inception and Mr. Robot

If you have any questions feel free to contact me

Doctor Strange - Open your eye

《奇異博士》讓史傳奇找到自己的天命，而經過《奇異博士2：失控多重宇宙》之後，他益發成熟，開始有古一大師的風範。當然，未來必將出現更多挑戰、失誤與遺憾，很多事情就是沒有最好的解法，只能求問心無愧。如果有一天，其他宇宙的你，聽見這個宇宙的你做過的事蹟與選擇，不會覺得羞愧、甚至感到驕傲，便已足矣。


釀影評｜《奇異博士2：失控多重宇宙》：成為最好的自己

本作並沒有電影宇宙的加持，在缺少知名角色的情況下，《月光騎士》進一步證明：只要主題新穎且有趣，就算是完全陌生的異能、神話，仍舊有它的賣點，而這多少替漫威影業打上一針強心劑，鞏固其佈局信心，接續擴張多元的英雄世界。


釀選劇｜《月光騎士》：拒做創傷的僕從，倖存即是英雄

入圍本屆（2022 年） TIDF 台灣競賽單元單元的《海妖》，是中國獨立紀錄片導演朱日坤的新作，他將鏡頭對準爭議影片創作者吳昊昊和他伴侶葛寧寧的平凡生活，透過他們自我剖白與對話，呈現其未竟的夢想、開放式關係的難題、家庭與社會的認同與挫折。

釀ＸTIDF｜給憤怒青年好一點的《海妖》

在眾多的作品中，我們看見作品背後掌鏡者赤裸地揭露自己的心碎與價值觀的生滅，並在其中望見女性所處在時代中侷限的框架，在這些眾多的女性群像裡，從出生、月事初潮、初次戀愛、懷孕、成為一個母親⋯⋯滋長出了徬徨、焦慮、不安，卻也充滿出走、改變的勇氣，這是另人迷戀的真實切片──也是紀錄片最、最、最迷人的魔法。☾

釀ＸTIDF｜不需要王子──我就是女巫！1990s 以降的女性私電影

對於電影中「多重宇宙」最清晰的理解方式，是秀蓮這個角色不甘於人生停滯的中年危機反射，她曾經擁有千百種不同的可能性，卻偏偏走到現在這一種，她僵硬地卡在一個以「報稅」為基調的宇宙中，沒有活力、沒有鎂光燈、沒有香腸手，沒有興味盎然的小花小草，只有各種可能的遺憾。

釀影評｜《媽的多重宇宙》：如果在某個宇宙，秀蓮是個影迷

如果一段多重的關係將合理地被預料到會損害一位心理學者在展示一位心理學者的功能時的客觀性、能力以及有效性，或是剝削（exploitation）或傷害與這位心理學者擁有職業關係的人時，他應當避免進入一段多重的關係。


釀影評｜《操控》：心理治療的可能性或是危害？

三位導演的勇於嘗試，使《大輪迴》成為臺灣電影史中最為叛逆的類型片。三人各以擅長的電影風格詮釋人倫社會，使《大輪迴》各篇章宛如臺灣電影史的濃縮，胡金銓的武俠、李行的通俗讓人得以一窺類型片的成熟精巧，白景瑞的新寫實也能看見新電影正從舊框架中萌芽，即將煥發新生。

釀影評｜《大輪迴》：電影在戲裡戲外的輪迴

若一部 220 分鐘的紀錄片，能說完胡金銓的一生，是小看了這位武俠之王。但觀眾除了能從無數武俠電影裡看見胡金銓的存在，而《大俠胡金銓》就是將胡金銓這位俠者曾經踏過的道路，細心拍出。雖然人事已非，景物也不一定依舊，但胡金銓的存在，卻是永垂不朽。

釀電影：專為影癡而生的媒體

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