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国模琳达2017.12.05双人超大CHIDU私拍套图+视频[300P+4V/343M/YF]

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    奋斗
    2019-4-22 20:30
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    发表于 2019-3-29 13:02:49 | 显示全部楼层 |阅读模式
    国模琳达2017.12.05双人超大CHIDU私拍套图+视频[300P+4V/343M/YF]



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    发表于 2019-4-5 09:56:48 | 显示全部楼层
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    “The Homesman” is the work of that perfectionist redneck-aesthete, all right – the kid from San Saba, Texas, who now owns a string of polo ponies in Argentina. I’m not saying that’s a bad thing. Jones is not concerned about protecting his on-screen image or playing likable characters, and I’m sure he’s aware this movie will get sold short because it belongs to a genre that strikes many people these days as inherently boring (or inherently nostalgic, which is worse). Before the movie started, I heard other critics in the screening room complaining about sitting through two hours of Western scenery. I didn’t get a chance to interview them afterward, but I would say that cinematographer Rodrigo Prieto’s harsh, horizontal landscapes – like the haunting, unsettling score by Marco Beltrami – are anything but picturesque and reassuring, and serve to support a strikingly bleak portrait of life on the 19th-century American frontier.
    Jones and his co-writers, Kieran Fitzgerald and Wesley A. Oliver, adapted “The Homesman” from a 1960s novel by Glendon Swarthout, which would seem to belong to the same tradition of Western revisionism that produced Charles Portis’ “True Grit.” I loved the Coen brothers’ recent film version of “True Grit” (and I liked the John Wayne one too), but “The Homesman” is something like that story with all the sweetness scraped off the surface, and its plucky adolescent heroine all grown up and carved out of granite. Mary Bee has a burgeoning farmstead, with corn, wheat and livestock; she once played the piano, back in New York state, and dreams of owning the first melodeon in the territory. She proposes to a neighboring farmer, framing the whole thing as a sensible business deal, but he plans to head back East for a wife: Mary Bee is both too plain and too bossy.

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    With its blend of romance, action, magic and bits and pieces of supernatural hoo-ha imported from other sources ? the Potterverse and “Twilight,” most obviously, but also “Star Wars,” “Avatar,” “Lord of the Rings” and the “Blade” and “Underworld” series ? this initial “Mortal Instruments” picture has the vibe of a straight-to-video release from the mid-‘90s, except with a $60 million budget and considerable special-effects expertise. Its young stars have the right feeling of almost-famous beauty and anonymity: Lily Collins, who’s had supporting roles in “The Blind Side” and “Stuck in Love,” plays Clary Fray, a New York teenager who discovers that her missing mom has been concealing her true identity, heritage, destiny, etc. Clary’s principal foils are a blond, brooding Anglo Shadowhunter named Jace (Jamie Campbell Bower, who has appeared in both the “Potter” and “Twilight” series) and her mildly nebbishy “mundane” would-be boyfriend, Simon (Robert Sheehan, of the British teen series “Misfits” and the Irish crime series “Love/Hate”). [This is a correction: I previously had this character confused with Alec, played by Kevin Zegers.]

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    It might be going a step and a half too far to suggest that “The Overnight” is subversive, in any grand social sense. But it’s a little bit subversive in terms of the suburban marriage comedy, which has also been vigorously deconstructed in such underappreciated recent efforts as Stacie Passon’s “Concussion” and E.L. Katz’s “Cheap Thrills.” (Catch both of those!) Brice’s script is driven by questions about the nature of desire that are increasingly ambiguous. What do Emily and Alex really want from their attractive and mysteriously affluent new friends? No one’s forcing them to stay there all night (after putting their sons to bed together), getting drunk and stoned and swimming naked in the pool and allowing themselves to be separated from each other several times.
    All four actors get a chance to shine in this nicely balanced ensemble, and Adam Scott gets special props for exploring new frontiers of fear and bravery in the realms of male frontal nudity and, shall we say, male anatomical anxiety. But Schwartzman is in every way (and even in the anatomical sense!) the centerpiece, playing a guy whose veneer of cool and confidence hides something else. Not something darker, necessarily – maybe just a squishy central core of bullshit. His alleged trilingual abilities in French and Spanish are a put-on, and amid his blithe torrent of world-traveler conversation comes a reference to “the Central Republic of Africa,” which is not a nation you will actually find on the globe.

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    And also, to be founded at such a traumatic, pivotal moment in the country’s history. Yes, we weren’t there for the Revolutionary War, but if you had to think of the next defining moment, it’s the Civil War. To be founded at the end of the Civil War, in this great city, by abolitionists committed to ending slavery, committed in many ways to issues that remain with us. As our good editorial board member, good historian and contributor to the special issue Eric Foner writes in the issue, also wrote in the New York Times this weekend, Reconstruction issues — contested citizenship, the never-ending fights over what freedom means — these echo through time and remain as relevant today. Anyone who thinks we’re all free has a lot to learn, I think, from the zigs and zags and the ongoing fights for issues upon which this magazine was founded.
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