《灵异妙探 Psych》要拍第三集电视电影《灵异妙探3：欧美吉斯的生活 Psych 3: This Is Gus》了。NBC的在线媒体Peacock宣布批准制作新电视电影，欧美预定夏季在温哥华拍摄；第三集讲述Gus为了赶及在小Gus出世前结婚，Shawn及Gus（James Roday Rodriguez与Dulé Hill饰演，下同）得找到Selene（Jazmyn Simon）的丈夫，同时间Lassiter（Timothy Omundson）亦在为自己的职业生涯而挣扎中。其他确定回归主要角色有Juliet O’Hara （Maggie Lawson）﹑Karen Vick（Kirsten Nelson）及Henry Spencer（Corbin Bernsen）。
回复 :A mysterious man, Dean, returns to his hometown of Grimsby after many years abroad in the Army. His arrival is met with animosity, particularly from his father, an avid pigeon racer. Dean is drawn back to confront his demons, and confess a secret to a childhood friend, Jess, only to discover she has been struggling since the untimely death of her husband. Whilst attempting to raise her child and battling a crumbling economy and dearth of opportunities, she is pulled into a harsh underworld. Dean must help her, throw her a lifeline, but the situation only darkens. When their lives are threatened he will do all it takes to make sure she is safe.
回复 :The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich; his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.
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