备注：已完结
类型：剧情电影
主演：金惠子 李来 崔民秀 姜惠贞 李弘基 李基英 曹恩智 SamHammi
导演：金成浩
语言：韩语
年代：未知
简介： 《偷狗的完美方法》由BarbaraO‘Connor同名小说为原作改编，讲述一位女孩(李甄饰)为过上自己理想的生活，计划一场异想天开的盗窃行为的故事。姜惠贞将在其中饰演女孩的母亲。偷狗的完美方法电影网友评论：< class="com">回顾《超人回来了2014》看到姜惠贞和素媛小朋友在拍戏就查到所拍的是这部片子小演员们都超级厉害真的好会演姜惠贞瘦得脱相实在难以跟《老男孩》里的超漂亮女主联系在一起爸爸的寻人启事照片是现实中姜惠贞的老公Tablo大概是带Haru去探班时被拉去平面客串的吧可爱很温情的韩国电影结局赚走了我的大把眼 < style="text-align:center;"> < class="com">有家族离散、生活贫穷等现实性的问题，但突出了家人之间的爱，饱含深意和人情味，给观众以同感和希望，是适合青少年和全家人一起观赏的影片，人非常满意，把孩子们之间的友情，亲情，彼此之间的关心、家人之间的爱表达得非常到位。而且用非常幽默的方法表现出来，让人非常喜欢这部电影。 < style="text-align:center;"> < class="com">整部电影充满乐观和纯真，用简单的思维方式理解人性，组合了一个成年人和儿童都能够找到自己原型的读心镜。道具和光线也都完美地加强了回归天真淳朴的呼唤。故事表达得很好，从孩子口中说出的话其实是成人内心不敢去面对的希望，流过感动的眼泪，世界似乎变得更好了 < style="text-align:center;"> < class="com">太喜欢这种轻快简单的治愈系电影，在温馨治愈方面韩国电影做的很棒。三个小鬼头演技爆表，实在太可爱了，看到素媛里的小女孩演这种无忧无虑的可爱角色就更加治愈了。每一个角色都很萌呀，没有强行安排大团圆完美结局才叫人更觉得真实亲切。 < style="text-align:center;"> < class="com">以小朋友的视角展开全片，所以情节线索以及矛盾都十分简单，导演对小演员的塑造很成功，观影过程十分轻松愉快。小朋友视角化解了很多逻辑性的问题，但要做是成功就要从细节上着手，幸好导演在这方面也完成得不错，有很多很可爱的设定。8.2 < style="text-align:center;"> < class="com">笑中带着感动的一部电影，小演员们的表演都很出色，孩子的世界很简单，最后的结局很美好。狗狗演员的表演也很出色，凡是有孩子和宠物一同出演的电影，很难不获得成功的。总体来说，中规中矩的一部温情片，四星评价。 < style="text-align:center;"> < class="com">兔子和青蛙的故事~在这个社会，就是兔子和兔子比，青蛙和青蛙比，每个人都有自己所在的等级与阶段，每个阶段的人都困在自己孤岛上出不来。世界上永远存在着比自己更绝望困苦的人，所以遇到困难时不要失望灰心。 < class="com">豆瓣说女主17岁，我觉得是假的，本片又是韩国的煽情制作，啊，突然看到下边喜欢这部电影的人也喜欢第一个就是许三观，突然好想念河正宇，然而我的韩语书送人了，不知道要什么时候才能去忠武路探班呢？ < class="com">今天带儿子重温了这部电影，很温馨很治愈的电影，没有刻意的煽情催泪，但我留意到孩子在女孩对金惠子奶奶坦白时，偷偷抹了眼泪，我知道他长大了，因为两年前看这部电影时，他还只知道笑而已。 < class="com">很简单套路的影片，几个小演员演绎的还真是不错，尤其是主演真的是很可爱啊！就是随着我们年龄的增长已经不太喜欢这种类型的影片了，观看的时候很难集中精神，所以只能给三星了。 < class="com">十足的儿童片小朋友你的头型很酷啊仨孩子要成精！1.6倍也能哭成狗秒认李弘基流浪大叔真带范儿真心没认出姜惠贞那个在蜥蜴和老男孩里的姜惠贞面部变化太大了确实没有以前好看 < class="com">演过素媛的小女孩，这次变成了有些心机的小天使，偷狗为了换钱，换钱为了买房，归归，小小年纪就被生活逼成了房奴，社会！好在结局暖心，在困顿面前，谁还没点小九九呢。
备注：已完结
类型：剧情电影
主演：萨姆·德·格拉斯 Francelia Billington 埃里克·冯
导演：埃里克·冯·施特罗海姆
语言：英语
年代：未知
简介： Two differences between this Austrian version and the generally available American version are immediately obvious: they differ both in their length and in the language of the intertitles. The American version is only 1,883 metres long - at 18 frames per second a difference of some 7 minutes to the Austrian version with 2,045 metres. Whereas we originally presumed only a negligible difference, resulting from the varying length of the intertitles, a direct comparison has nevertheless shown that the Austrian version differs from the American version both in the montage and in the duration of individual scenes. Yet how could it happen that the later regional distribution of a canonical US silent film was longer than the "original version"? The prevalent American version of Blind Husbands does not correspond to the version shown at the premiere of 1919. This little-known fact was already published by Richard Koszarski in 1983. The film was re-released by Universal Pictures in 1924, in a version that was 1,365 feet (416 metres) shorter. At 18 frames per second, this amounts to a time difference of 20 minutes! "Titles were altered, snippets of action removed and at least one major scene taken out entirely, where von Steuben and Margaret visit a small local chapel." (Koszarski) From the present state of research we can assume that all the known American copies of the film derive from this shortened re-release version, a copy of which Universal donated to the Museum of Modern Art in 1941. According to Koszarski the original negative of the film was destroyed sometime between 1956 and 1961 and has therefore been irretrievably lost. This information casts an interesting light on the Austrian version, which can be dated to the period between the summer of 1921 and the winter of 1922. Furthermore, the copy is some 200 metres longer than the US version of 1924. If one follows the details given by Richard Koszarski and Arthur Lennig, this means that, as far as both its date and its length are concerned, the Austrian version lies almost exactly in the middle between the (lost) version shown at the premiere and the re-released one.A large part of the additional length of the film can be traced to cuts that were made to the 1924 version in almost every shot. Koszarski describes how the beginning and the end of scenes were trimmed, in order to "speed up" the film. However, more exciting was the discovery that the Austrian version contains shots that are missing in the American one - shots/countershots, intertitles - and furthermore shows differences in its montage (i.e. the placing of the individual shots within a sequence). All this indicates that Die Rache der Berge constitutes the oldest and most completely preserved material of the film.
