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An unimpressive, everyday man is forced into a situation where he is told to kill a politician to save his kidnapped daughter.
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2 H2 l- `3 m! w9 B& @5 \◎译 名 千钧一发/致命时刻/要命的决定
C1 p. ]0 R" X# {& T+ Z- m0 ?5 D◎片 名 Nick of Time / Tiempo Límite2 [# N% ^7 C- a& E8 o
◎年 代 1995! k8 J" V* u. w+ {
◎产 地 美国8 O. c5 \& g) o' Y
◎类 别 剧情/动作/惊悚/犯罪
! g. L& [! z7 w% W9 A6 F4 }; I8 `◎语 言 英语- B$ I. ~$ D' ?) T4 R# }' E8 z$ V3 O& u& |
◎上映日期 1995-11-22(美国): @, F) D8 v) h- j% \. D9 O# j
◎IMDb评分 6.3/10 from 41,863 users
- C7 x' N7 u- E( b+ a◎IMDb链接 https://www.imdb.com/title/tt0113972/# I) K5 W) P6 k
◎豆瓣评分 6.5/10 from 3,034 users+ \9 x% r' L7 _
◎豆瓣链接 https://movie.douban.com/subject/1292702/
3 l% x j: P6 G◎文件格式 x264 + DTS 4 L$ z1 x# l1 X
◎视频尺寸 1920 x 10808 F& a; `/ [& u. \* r
◎文件大小 1DVD 19.81 GiB- m% B7 X/ T! [& |
◎片 长 1 h 28 min& \$ Q0 b, i! _. ?" o6 P6 ?( c4 N
◎导 演 约翰·班德汉姆 John Badham
* g; K+ w" a# \; t) B6 {◎编 剧 帕特里克·邓肯 Patrick Sheane Duncan; E/ W* W2 \+ R2 Q( s) k. [! D! g6 y
◎演 员 约翰尼·德普 Johnny Depp+ [4 ^0 @/ b% P
考特妮·蔡斯 Courtney Chase2 R: V5 { D9 h
查尔斯·达顿 Charles S. Dutton
. L2 y+ c4 g4 I( {# ?3 ?- d$ @; G. Q" E 克里斯托弗·沃肯 Christopher Walken& {2 A" t% c2 k8 T( E) O/ l
罗马·玛菲娅 Roma Maffia
: K/ ~! I X3 ^: Y, L* v3 X 玛莎·马森 Marsha Mason) ~4 B# ?8 m, Y2 Z+ p5 a4 a
彼得·斯特劳斯 Peter Strauss* L ^: p# r% j* `2 d8 u: M
格洛利亚·鲁本 Gloria Reuben
" b- W1 q0 |) X& f. q8 X- ` 比尔·斯米托洛维奇 Bill Smitrovich3 {* f. e! q6 l: N
G?D?斯普拉德林 G.D. Spradlin _( V7 L0 C" Z: b) y' Q
尤尔·瓦斯克斯 Yul Vazquez
. b( g! w9 H4 E, }+ G6 i h 伊迪丝·迪亚兹 Edith Diaz
+ I* R/ G. A& z; P! ~ 克里斯·雅格布斯 Chris Jacobs
# J5 l; m# p E3 w, \4 Q 查尔斯·卡罗尔 Charles Carroll
' Z$ j) S4 t: ]2 X8 y9 U$ K Lance August
( n" b3 k3 t+ c8 l+ u( X2 l 里克·齐夫 Rick Zieff' n( j* d+ h! k& z& T4 Z( O7 V3 D
Tom Bradley8 V4 [9 }! `; C) o- G0 e4 a( ?
Jan Speck
. \) i$ z/ Z8 N9 C- Y1 C Tom Lawrence
7 k& V7 u4 e, p8 r8 W, h 克拉克·约翰森 Clark Johnson
! Y: F2 w2 l9 N Roy H. Wagner
( ~2 c/ g0 E" B 弗兰克·莫瑞斯 Frank Morriss3 w/ Y) ]$ Y! u/ F; t% l2 j7 @) X
菲利普·哈里森 Philip Harrison
9 z0 ~) Q5 ]0 m6 w3 q# n) i 玛丽·E·沃格特 Mary E. Vogt
t& g/ s: z+ U- W 小约翰·M·艾略特 John M. Elliott Jr.$ R+ E4 {* j0 [/ o9 I
James R. Scribner9 B9 E) l* t: w$ Y/ Z
Clare M. Corsick
7 W( y9 G& I6 x7 K5 m5 I( ] 哈泽尔·凯特穆尔 Hazel Catmull1 M3 J& X3 H' |- E3 o
Janice Alexander$ e, ^4 q) a: V2 |9 D1 }
帕蒂·约克 Patty York* A3 s$ }6 B$ p
Diana E. Williams/ h- S) k9 H3 I% A, }
$ f/ b& L4 y1 K* y◎简 介
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6 ?! V7 O& {+ X0 z4 E8 L' V1 A% T2 g 韦斯顿(约翰尼·德普 Johnny Depp 饰)的前妻去世了,带着小女儿琳恩(Courtney Chase 饰),悲伤的父女二人远赴洛杉矶,准备参加前妻的葬礼。令韦斯顿没有想到的是,刚刚抵达目的地,他和女儿便遭到了绑架。绑架他们的一男一女分别名叫史密斯(克里斯托弗·沃肯 Christopher Walken 饰)和琼斯(罗马·玛菲娅 Roma Maffia 饰)。
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绑匪告诉韦斯顿,在七十分钟的时限内,韦斯顿必须杀掉加州州长格兰特(玛莎·马森 Marsha Mason 饰),否则的话,他的女儿将性命不保。一边是无辜的州长,一边是心爱的女儿,韦斯顿会做出怎样的选择?随着事件的发展,韦斯顿惊讶的发现,策划这整起时间的罪魁祸首不是别人,竟是州长最信任的手下。
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A real-time thriller in which an unimpressive, every-day man is forced into a situation where he is told to kill a politician to save his kidnapped daughter.
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! h$ D/ D0 J9 G* Z; K- O& jNick.of.Time.1995.1080p.BluRayCD.REMUX.AVC.DTS-HD.MA.5.1-FGT! w8 N {2 b/ ]+ d% Q5 o; q
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Video
) W1 g$ O4 j4 N4 W8 N q& Q" v ?& x' qID : 1
9 p( H& J; c! V3 M; s5 rID in the original source medium : 4113 (0x1011). Z$ J4 w6 p# s! K x# T
Format : AVC1 @$ @+ k, d" _! _* }
Format/Info : Advanced Video Codec
" f8 P1 N3 r+ d* MFormat profile : [email protected]
% o3 \7 W- h8 `. e1 vFormat settings : CABAC / 2 Ref Frames' c. j% A5 x4 l, P- l9 P
Format settings, CABAC : Yes
% f3 j1 q" J, U" |Format settings, Reference frames : 2 frames1 ^4 L+ |$ b9 t: Z
Format settings, GOP : M=1, N=51 [4 |& M' @2 b; ]4 t
Codec ID : V_MPEG4/ISO/AVC
( q# S! ]3 s, J0 E. { @Duration : 1 h 28 min( J3 M1 W: p F: H
Bit rate mode : Variable! |/ E( v* B* Q: ^9 h4 V
Bit rate : 27.5 Mb/s. s* v; [7 z1 g9 Z% v" s$ b
Maximum bit rate : 37.8 Mb/s
- f3 B) H5 O6 n7 ?' E7 a. tWidth : 1 920 pixels5 u$ l& U3 E7 j7 o! i* W0 |
Height : 1 080 pixels
# }* z4 O4 j C# T) ^9 M1 {Display aspect ratio : 16:9
. P, M1 T9 J& l: O( Y1 kFrame rate mode : Constant8 l! Z- h$ c1 h: D: d1 g& p
Frame rate : 23.976 (24000/1001/189150) FPS% s8 k- ]; k7 k- A7 p3 G
Color space : YUV( e( c- |# v: \; m" ?( G' b. I
Chroma subsampling : 4:2:0 X* {4 D4 T% m2 `9 T7 g
Bit depth : 8 bits5 K+ S+ J; l. M, J) L5 U. _
Scan type : Progressive4 c2 k+ V5 x' @. y
Bits/(Pixel*Frame) : 0.554
- B1 ^5 ~ e0 h% F, K, r% gStream size : 17.1 GiB (86%)
" z7 w& U$ f! R+ D7 c& yLanguage : English
/ \1 v. e/ ?; q+ s, {$ x% YDefault : No' _/ H! b: H+ N
Forced : No6 `8 U* ]+ f" _0 S" E6 d% X- b
Original source medium : Blu-ray* [9 X$ l( `& M/ X* c2 ~# s! L4 i
' h# D5 s4 p5 z0 }+ Y, pAudio
) `) m! ~; [. {ID : 2
% s V$ S5 T; O( JID in the original source medium : 4352 (0x1100)6 V7 h& S# p5 L: c% H) o+ }
Format : DTS XLL
* c$ k/ J$ ?9 B; T) lFormat/Info : Digital Theater Systems ~2 ]: q" d+ Z$ ]* [, d
Commercial name : DTS-HD Master Audio
8 S6 p& B8 Q6 N7 X9 s* ZCodec ID : A_DTS
2 x5 H: j; X0 Y W+ t) L Y1 _Duration : 1 h 28 min
+ p4 N; q4 _- b/ sBit rate mode : Variable7 C+ X" c$ T% ]; _& h8 ?
Bit rate : 4 336 kb/s8 A, R e# [( `% T3 ]# z
Channel(s) : 6 channels
5 Y# b6 F4 Z* vChannel layout : C L R Ls Rs LFE* t2 r& C: C! B. n! [4 }* K: ~3 l
Sampling rate : 48.0 kHz
" l) P( d, @% ^$ [! zFrame rate : 93.750 FPS (512 SPF)9 I4 e7 R0 [" W+ d
Bit depth : 24 bits
; L% A' z$ K# V5 ?Compression mode : Lossless" y" O6 ?! A" F6 j; C
Stream size : 2.69 GiB (14%)
! Q6 J3 I1 S* a+ sTitle : DTS-HD MA 5.1: u! X' T3 X$ S% T& E+ a
Language : English
3 d9 z; L! n2 nDefault : Yes8 a) b" B, _+ L f
Forced : No
: [# g5 R6 @1 a) h- O2 nOriginal source medium : Blu-ray: F3 ?) o6 f$ e- j) [5 R
3 _( B. {; Z' {- LText #1! ?6 L/ e8 o& q) c1 C3 m- A" U
ID : 3+ E) {$ b, a; L! K7 @
Format : UTF-8
( w: ^, v/ _( E1 p$ U1 i) ~Codec ID : S_TEXT/UTF87 d$ F4 i# Q- N8 L4 F }, c R
Codec ID/Info : UTF-8 Plain Text
6 H: B% Y6 P }; L, {) cDuration : 1 h 22 min
1 T5 k& j0 [0 ?, |Bit rate : 58 b/s
6 X$ \# d" y; @( nCount of elements : 1102
B& B R3 U. E. N, ~2 ~# e) UStream size : 35.2 KiB (0%)
3 F, N4 r" o* o1 V. iLanguage : English
. ?+ s5 O4 u6 w5 I- pDefault : Yes# t, J }7 S3 M) d) _5 L
Forced : No
* d) G/ o k' l( S
% b- @! c+ \) d' PText #2
6 `/ o) C2 T, g G/ ?' W9 k" LID : 4% Z p- O: N! u. @3 {# U2 ~5 |9 ^* X
ID in the original source medium : 4608 (0x1200)& a4 x e* W. T4 x' F5 {
Format : PGS6 @5 l( X. T3 m
Muxing mode : zlib- c' i' `( G i) Q$ a, ?) I
Codec ID : S_HDMV/PGS- k K0 I: W+ P7 X! c6 l
Codec ID/Info : Picture based subtitle format used on BDs/HD-DVDs. u1 b- H) O7 [9 g' v( c8 ]
Duration : 1 h 22 min
/ B0 H Z+ o: w$ x( pBit rate : 36.7 kb/s' |7 a3 `( _) N
Count of elements : 2065
0 I+ v2 {( K' z* QStream size : 21.5 MiB (0%)
9 @0 q2 k8 E9 Q5 C" r( \ YLanguage : English6 I2 Y1 Y$ M& y& _; O5 a4 c1 g
Default : No
+ z- n; [: d9 t: ^- UForced : No" E4 \; p( X% g7 l" ^/ e# e
Original source medium : Blu-ray) y m1 U* a% p2 c C5 f; b. Z, {
% K1 G5 O( v0 @" @6 |+ |9 OMenu
" F1 g/ m& \0 }6 e$ r00:00:00.000 : en:Chapter 01( C2 h6 B; `5 C" W8 [% J4 B% C0 W! x* Q' S
00:02:57.427 : en:Chapter 02; G! `& m: g! Y8 v' r0 C& R
00:09:25.815 : en:Chapter 03$ y3 _8 p. [- Y9 o
00:13:02.782 : en:Chapter 04
+ X& Z- Q4 N# f) T: L9 F. I [00:19:41.930 : en:Chapter 05
" n( |. y& B/ @00:27:58.677 : en:Chapter 06
( j i6 U+ O; e0 e! x00:31:52.243 : en:Chapter 075 z4 g, H: P( x- s7 ?: |1 s% y! ]
00:35:13.986 : en:Chapter 082 ? b7 M. b* B3 t; f* p# |* D
00:41:05.087 : en:Chapter 09: N, P$ h6 W$ q ~% ^# Z4 E
00:46:08.807 : en:Chapter 102 N) }* y4 r# ~" Q$ C$ M2 l/ a: D
00:53:39.507 : en:Chapter 11
9 |( ^9 S# x3 y1 h+ |00:59:09.003 : en:Chapter 12
7 Y- I F, } y01:03:58.209 : en:Chapter 13
6 |* \$ N' W# S# ~9 t01:10:23.928 : en:Chapter 143 n* s9 H8 i; d( f8 A& |
01:13:43.794 : en:Chapter 15
2 Z. A5 H5 ^% |01:20:46.550 : en:Chapter 16
! k1 E( R# Z% V4 A7 f; X. M6 K01:25:41.386 : en:Chapter 17 Nick of Time Blu-ray, Video Quality
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J, t! Q7 @: V$ G; q, IParamount brings Nick of Time to Blu-ray with an OK-ish 1080p transfer that only manages to claw its way up to mid-grade. Like Clockstoppers, Nick of Time can look good at-a-glance but its shortcomings become evident as the viewer looks a little harder. It's not a terrible picture but it's clear that there are some ebbs and flows across a fairly wide spectrum of problems that prevent it from achieving that desirably fresh film-like look. The picture suffers from the odd speckle and fiber and somewhat poor compression at times, revealing some blocky backgrounds, but this is not the image's chief concern. Grain management is almost always questionable. At times it appears overly coarse, clumpy, and chunky rather than fine and organic. In these shots, core textures hold up nicely enough, revealing capable, though hardly noteworthy, core definition and density. At other times, grain appears almost scrubbed away – especially through much of the second half – leaving the image smooth and details far below ideal. The image never looks waxy, but this is far from perfect, and the image frequently can only hover in that "just a bit above an upscaled DVD" level. Colors are not particularly a strength, either. There's fair depth at times and a feel of fading in others. Never does the image just explode with vibrant primaries and intense secondaries. This is a fairly pedestrian color output, which also carries to whites, blacks, and skin tones. This is watchable, but videophiles will wish for something better.9 c" Z; o: ~+ ] L8 B0 C! V- y
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Nick of Time Blu-ray, Audio Quality % h/ m: o2 E* L
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Nick of Time features a time-tested DTS-HD Master Audio 5.1 lossless soundtrack. The 5.1 configuration proves its worth from the outset as a heavy Amtrack train rumbles through the stage, as the breaks squeal and it grinds to a halt outside the station. Various public address announcements and crowd din help better set the scene with impressive immersion into the area. Most of the film's music and action elements are in good working order, all of them lacking the sort of lifelike detail found in the best track but at least presenting with some sense of space and detail, enough to nicely compliment the story and draw the listener into it. There's a fine sense of front-back balance at work. The subwoofer doesn't belt out any prodigious notes but it's more than capable in delivering essential audio cues. Dialogue can be a little shallow. Listen to some of the exchanges in the train station for good examples. Most of the time it's clear enough and well prioritized as it remains more or less grounded in the front-center channel.
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