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Andy is a writer for newspaper classifieds who has been bouncing from relationship-to-relationship since sixth grade. Throughout the film, he loses custody of his dog when his girlfriend, Cheryl, breaks up with him for another man. Andy then meets Lorna, a children's TV show host, but she is too obsessed with her own dog to commit to a relationship with Andy. She's also still smiting because her boyfriend Trevor, left her for Andy's ex, Cheryl. Andy also has a fling with another woman, Keiran. Meanwhile, Cheryl takes Andy's dog to a psychiatrist, who tells her that her promiscuity is traumatizing the dog.
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Sam (Matthew Broderick) is the reasonable man in a crazy urban world, the man of thoughtfulness and refined taste in a landscape of Leroy Neiman paintings and beer commercials. The guy would sooner cook for an hour over a hot stove than say `supersize it.' By day he's a store clerk in an upscale gourmet eatery, and these scenes raise a smile, especially for anyone who's visited the actual chain in New York City -- the portrayal isn't far off from the reality. Our man is besieged by hoards of customers who want their imported French cheese cut to impossibly exact standards. His efforts to remain outwardly polite (while you know he'd like to take the cleaver to the relentless clientele) are pretty funny, and will warm the hearts of clerks everywhere. In general, Broderick is in good form and provides the movie with most of whatever lightness it possesses. Sciorra's lovelorn dental hygienist, Ellen, is fine enough, too, and her unknowing interaction with our cheese-slicing hero shows some hopeful chemistry, and you may begin to feel you want to see these two get together. One of the main competitors for our lady's affections, a stockbroker (Kevin Anderson), is played as caricature: he's the beer swilling frat-boy whose idea of after-sex sensitivity is flipping on the football game. He's kind of funny at times, but the movie might be stronger if he was written or acted for us to like him more, instead of having us merely recognize him as the flat-out `wrong' guy in comparison to Broderick's sensitive man. Think of John Candy in Splash, taking a cigarette and beer can to the racquetball game; we know his lifestyle is not the one our hero should emulate, but we can't help but be charmed by the likeable goon. Whereas this character is merely a goon, and pretty unlikable all around. While it's a nice enough light movie for the first half, for me the story was somewhat derailed by its unbelievable (Hollywood) presentation of sex and adultery. (SPOILER AHEAD, skip to next paragraph.) When Ellen returns home after an evening's misadventures, she is naturally faced with the questioning husband (Michael Mantell). Quickly admitting her own indiscretion, she then immediately turns the situation around, demanding to know why the guy had gone ahead and bought a house without discussing it. Granted, it's a valid issue, and granted, many people use this countering maneuver in arguments. What's unbelievable is what happens next: the guy starts responding to her question, addressing the house-issue in a quiet, thoughtful manner. WHOA. You'd be hard pressed to find a married person in the world who, when faced with his/her partner's totally unexpected adultery, would be ready to address anything so calmly. The guy would surely be bouncing off the walls, or else crushed into silence and tears - but see, then we might actually feel for the poor schnook, and we'd see Sciorra's character in a poor light. And since that particular audience reaction doesn't serve the romantic comedy, the story tries to sneak around it. You may start to feel that, like the husband, you're being taken. Further dissatisfaction is just around the corner in the ending. We realize this is where misunderstandings will get sorted out, and our couple will finally see a clear path to one another. We want the satisfaction of rooting for them. But it's marred by another unbelievable character reaction, followed by an abrupt conclusion that feels rushed and forced, too easy and unearned. You may feel as though the movie's cheating on you again...
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讲述了粉丝们最喜欢的幽灵蜘蛛和秘密战士们的故事，他们联手拿下了反派的护甲，并永远被放逐。队长奎克能说服幽灵蜘蛛永远加入队伍吗？这部前传漫画是以蜘蛛格温为中心，而在漫威宇宙中已经有非常多英雄叫Spider-Woman或者Spider-Girl，所以这部动画开始，正式改名为Ghost Spider（幽灵蜘蛛）。
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尼古拉斯·凯奇将主持Netflix喜剧节目《脏话史》(History Of Swear Words)，探索Fuck、Shit、Bitch、Dick、Pussy、Damn等脏话的起源、流行文化用法、科学和文化影响。
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「围绕四位年轻人之间可爱的关系，将触动整个暹罗广场的心」的可爱噱头氛围引入现时发生的流行文化，美甲已不仅仅是普通的绘画，它可以创建无限的图案，并成为青少年表达不受性別限制的领域之一。 剧情讲述关于爱和人际关系的故事，也包含了关于成长、学习促使四位角色的改变。 高中生Fourmod经常受到Gel Nail Boy Chian的邀请，以在暹罗广场（Siam Square）完成指甲，这使Fourmod跌倒了。但是，他后来意识到，当他发现Chian还邀请Luk Khrueng Tiktoker Bua将指甲一起完成时，他将被保留下来。为了使chian嫉妒，Fourmod决定使用他的密友Babin做同样的事情。
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On February 16, 2022, the fourth spin-off series of NCIS set in the Australian city of Sydney was announced, to be shown on the Australian Network Ten, and streamed on Paramount+. Shane Brennan has been announced as the showrunner.
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好搭档西蒙·佩吉和尼克·弗罗斯特又合作推新作了，这次将通过两人的厂牌Stolen Picture制作一部超自然题材的恐怖/喜剧剧集《探寻真相者》(Truth Seekers)，以三人组成的灵异事件调查小组为主角，每集讲一个灵异事件，该剧的幽默和世界观都会很英式，与索尼电视合作，已经在市面上开始寻找下家。 佩吉说：“这仨本来只是小打小闹，结果一不小心事业还走出国门走向世界了。未知事物的神秘感，这是一种所有人都懂的语言。就像《僵尸肖恩》是很地区性的北部伦敦故事，但每个人都明白丧尸电影这门语言。” 这是Stolen Picture旗下的首部剧集，而旗下首部电影《屠宰场法则》已经拍完，在后期制作中了。佩吉说，这是一部很讽刺的电影，关于英国“自我抛售”，“以及水力压裂技术，释放出了一些可怕的地下恶魔”。 两人演的影剧都不少，也笑称最近“刚把手头的账还清”，但表示“最终还是会变成全心全意做Stolen Picture”。
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由《搶救雷恩大兵》男星愛德華伯恩斯自編自導，設定於 1980 年代，描述一群剛畢業的大學生在曼哈頓追夢之際，仍然不忘自己來自長島故鄉，懷抱著自工薪階級家庭成長所堅持的信念。
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《The Swarm》是一部全球环境惊悚片，以弗兰克·谢特辛的著作为基础，讲述了当今世界海洋动物的反常行为和反常行为引发的动乱。数百万条奇怪的蠕虫突然出现在北海海底，钻穿冻结的甲烷，威胁到整个大陆架的稳定。成群的贻贝阻止了大型船只的机动。有毒的水母、龙虾和鲸鱼开始沿着世界海岸攻击人类。全球科学家和军方齐聚一堂，共同应对人类所面临的最大挑战。他们令人毛骨悚然地发现，我们并不是这个星球上唯一的智慧物种，而且在海底深处存在着一种集体智慧，这种智慧在其栖息地遭受了文明的破坏，并决定反击。