黑帮电影

他也同Miller联袂出演了2000的黑帮电影《爱，荣誉与服从》以及2002年在合奏戏剧《旅店》中参演Liu的对手戏。

He co-starred with Miller in 2000 's gangster film Love , Honour and Obey and opposite Liu in 2002 ensemble drama Hotel .

其黑色风格在整个香港黑帮电影中独树一帜。

The black style in the unique Hong Kong gangster Film .

从传统到现代&任侠黑帮电影中的日本文化精神

From Tradition and Modernism : & the Japanese National Culture Spirit in Ninkyo Yakuza Movie

这是马丁？斯科塞斯执导的经典黑帮电影《好家伙》中的第一句台词。

This was the first line of Martin scorcese 's classic gangster film , goodfellas .

斯科塞斯将在完成他即将上映的黑帮电影《爱尔兰人》后，开始拍摄这部电影。

Scorsese will begin work on the film after wrapping his forthcoming gangster drama , The Irishman .

事实上，整出电影探讨父子关系，因此它可被视为家庭伦理片，而非一般黑帮电影。

In fact , the film can be seen more as a study of the relationships between fathers and sons than a simple gangster movie .

对于他的黑帮电影，很多人只是泛泛而谈，鲜有人对其思想内容、影像风格进行深入研究。

For his gangster film , a lot of people just generalities , few people of their ideological content , style , depth of image .

他要回到片场了。他正在北京郊区执导一部以旧上海为背景的黑帮电影。

He had to return to the set of his film , a gangster movie set in old Shanghai that was being shot in a Beijing suburb .

与《四个婚礼》相反，这部电影引起了英国黑帮电影的现代运动。《两杆大烟枪》讲述了一群可怕的人说着一系列伦敦口音的脏话。

The opposite extreme to Four Weddings , the film that started a modern movement of British gangster comedies , Lock Stock ... has a range of horrible people talking in a range of dirty London accents .

第一章，主要从杜琪峰电影的社会基础，对中国传统侠义精神的传承以及对法国导演让-皮埃尔·梅尔维尔黑帮电影的继承三个方面，来阐释杜琪峰电影的黑色性。

The first chapter , the main social basis of the film from Johnnie To , chivalrous spirit of traditional Chinese heritage and the French director Jean-Pierre Melville gangster film three aspects of inheritance , to explain Johnnie Black Style .

它也是全球最有影响的电影作品之一，特别是在黑帮系列电影之中。

It is also considered to beone of the most influential , especially in the gangster genre .

教父是一部上映于1972年的美国黑帮题材电影，导演弗朗西斯·福特·科波拉，制片人艾伯特·鲁迪。

The Godfather is a 1972 American epic crime film directed by Francis Ford Coppola and produced by Albert S.Ruddy .

近些年香港电影制作商已经开始摆脱功夫和黑帮体裁的电影，并开始倾向于社会现实类题材的影片。

Hong Kong filmmakers have begun ditching the trademark kungfu and gangster genres in favor of social realism in recent years .