介绍：故事发生在不久的将来，人工智能风靡一时，自然发展成为遥远的记忆纽约一对夫妻瑞秋和阿尔维准备将关系发展到下一个阶段，组建一个家庭。　　瑞秋的工作让他们有机会使用科技巨头帕伽索斯公司开发的一种新工具——通过可拆卸的人造子宫，或着叫“卵舱”，让夫妻们有机会在更平等的基础上共享怀孕。　　阿尔维是一名植物学家兼虔诚的纯粹主义者，对此方法表示怀疑，但他对瑞秋的爱促使其放手一搏，两人在这个勇敢新世界里，开始了为人父母的疯狂旅程。

介绍：Zee（娜塔莉·伊曼纽尔 饰），一个神秘而臭名昭著的刺客，在巴黎黑社会中被称为“死亡女王”，令人闻风丧胆在她的神秘导师兼经纪人Finn（萨姆·沃辛顿 饰）派遣的任务中，Zee拒绝在巴黎一家夜总会杀死失明的年轻女子Jenn（戴安娜·西尔弗斯 饰）。这使得她和Finn反目，同时也引起精明的警探Sy（奥玛·西 饰）的注意，并使她陷入一场与自己的过去发生冲突的邪恶犯罪阴谋。

介绍：塔克·麦克斯是个痞子，同时也是就读法学院的新科律师他总是在最不恰当的时机喝得烂醉，无视社会规范，任性妄为，不在乎胡闹的后果，嘲弄白痴跟装腔作势的人，睡过的女人远超过安全合理的范围，大半时间表现得像个莽撞的猪头。...[

介绍：丹尼（梅尔·耐多 Mel Raido 饰）刚刚和妻子安吉拉（玛辛·佩克 Maxine Peake 饰）离了婚，带着两个年纪尚小的女儿，这个落魄的男人不知该何去何从在一家夜总会买醉的丹尼目睹了一场

介绍：In the time of Counter-Reformation, a miller and his son come under investigation by a priest of the Inquisition, when rumors spread that their prosperity comes from working with the Devil.　　The Devil's Trap is a film directed by František Vláil, based on a novel by Alfréd Technik, adapted by František A. Dvorák and Miloš Kratochvíl. It was the first of three historical dramas that Vláil made during the Czech New Wave (technically he isn't really a part of the New Wave, however these films were made during the same era of artistic freedom), preceding his more well known Marketa Lazarová (1967) and Valley of the Bees (1968).　　Set in the late 16th Century during the Catholic Reformation, in the Moravian Karst, situated in what is now the Eastern Czech Republic, it tells the tale of a miller (Vítezslav Vejrazka), and his son Jan (Vít Olmer), who come under suspicion and are investigated by a Jesuit priest of the Inquisition (Miroslav Macháchek), when rumors of witchcraft are spread by the local regent (Cestmír Randa), who is jealous of the miller's prosperity and degree of respect among the local populace.　　As expected from Vláil, this film is a stunning experience all the way through. From the opening shot, an ominous manipulation of perspective with a close up of a mangled figure of Christ dominating the foreground against a tiny figure in black walking along the horizon, to the breathtaking confrontational finale inside the vast stalactite filled Karst caverns, it is a wonderful display of visual mastery.　　Maybe not quite as impressive as Marketa Lazarová, but still full of astonishing imagery. As seen from unique angles and distinct points of view which highlight the director's remarkable sense of awareness of framing, motion, and positioning on the emotional and dramatic tone of the scene. The most memorable being a repeated shot where the camera is suspended and launched with speed through the air towards the miller's door.　　The story here is a simple one and I would say more accessible than his later works. With a conventional structure emphasized as much by its plot and characters, than by its expressionistic cinematography or authentic historical detail. The events play out without much surprise, and there is a strong underlying, almost supernatural, mysterious aspect that is left unresolved, in fact barely explored, which is slightly disappointing, but only because it's so fascinating that I wish there was more.　　Acting is great all around. Particularly the villains Miroslav Macháchek as the priest, casting a sinister and imposing shadow wherever he goes, and Cestmír Randa as the weasel like regent behind all the persecution. While Vít Olmer brings a charismatic leading man presence in his role as the miller's son Jan, in love with the lovely orphan girl Martina (Karla Chadimová), who becomes a dangerous object of rivalry between Jan and other young men of the village.　　The film also features the evocative music of Zdenk Liška (perhaps the most prolific composer of the Czech New Wave). In this his second of eleven collaborations with Vláil, his compositions are used sparingly, but to great effect, complimenting but never overpowering a scene. The best example of which can be heard in an amazingly shot celebration and dance sequence at the end of the second act.　　The Devil's Trap might not be a masterpiece, but it is still a strong effort, with a fascinating straightforward story and a glorious historical setting captured beautifully by Vláil's unmistakable visual prowess. A fine work that would also be the perfect starter plate to prepare yourself for the challenging feast of Marketa Lazarová or The Valley of the Bees. It even has an easy to digest running time. It's therefore puzzling why this gem remains largely overlooked and ignored.