754
1.0

宝莱坞机器人2.0:重生归来国语

导演:
S·尚卡尔
主演:
拉吉尼坎塔,阿克谢·库玛尔,艾米·杰克逊,阿迪勒·侯赛因,苏丹舒·潘迪,卡拉巴万·沙约翰,阿南特·纳拉扬·马哈德凡,梅伊尔萨米,伊莎里·加内什,凯扎德·科特瓦尔,巴拉特·雷迪,玛雅·S·克里希南
别名:
未知
1.0
754人评分
国语
语言
未知
上映时间
未知
片长
简介:

  印度某市,所有人的手机突然被来自天空的神秘力量席卷吸走,手机销售大亨、电信运营老板、国家电信部高官等与手机相关的许多人相继离奇死去;城市上空,巨型变异鸟怪(阿克谢•库玛尔 饰)突然出现,大开杀戒,向所有手机用户宣战,民众陷入恐慌……
  危机时刻,科学家瓦西博士(拉吉尼坎塔 饰)在美女助理妮娜(艾米•杰克逊 饰)的帮助下,一路追踪事件真相,但后果已无法挽回,能够拯救人类的唯一方法只有——重启机器人“七弟”,他将如何变身新一代超级英雄,与这股亦正亦邪的势力开启昏天黑地、脑洞大开的鏖战?......

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简介:Wunder der Schöpfung is an extraordinary, fascinating Kulturfilm trying to explain the whole human knowledge of the 1920s about the world and the universe. 15 special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact. It its beautifully colored, using tinting and toning in a very elaborated way. Some visual ideas in the sequences with a space shuttle visiting different planets in the universe seem to have to be the inspiration for Stanley Kubrick's 2001 A Space Odyssey.  In the context of Germany's Kulturfilm phenomenon, Wunder der Schöpfung was among the greatest achievements of the 1920s. The production was constructed, rehearsed, and shot over a period of two and a half years, under the supervision of Hanns Walter Kornblum. The idea to describe the universe and man's place in it well suited UFA's Grossfilm mentality, one year before the Metropolis catastrophe. Hundreds of skilled craftsmen participated in the project, building props and constructing scale models drawn by 15 special effects draughtsmen, while 9 cameramen in separate units worked on the historical, documentary, fiction, animation, and science-fiction sequences. Without star roles or even protagonists, the film's plot is crowded with meticulously structured and skillfully acted single scenes an artful mosaic of small vignettes. No less than four credited university professors ensured the factual background behind the scientific and historical events portrayed.  The film's symbol of progress and the new scientific era is a spacecraft, travelling through the Milky Way, making all the planets and their inspiring worlds familiar to us, with the extravaganza of their distinctive features. The film's educational intentions, however, become steadily more obscure, humorous, or even campy as this popularization project proceeds. With the excuse of presenting the end of the world a not-so-new concept as a new, undeniably scientific truth, the film veers happily along a new path, displaying detailed apocalyptic scenes of the end of mankind. For today's audiences, this amazing film demonstrates how the universe was comprehended in the 1920s, and how that view was sold to contemporary audiences.
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