金瓶雙艷
是鈡國(guó)古典情色文學(xué)的代表作，港臺(tái)改編成電影作品的舉不勝數(shù)，李翰祥更是前后五次以金為題材，是最得金神髓的導(dǎo)演，場(chǎng)景細(xì)致、富麗堂皇，極致風(fēng)月無(wú)邊之能事，OK說是;意識(shí)上的情色大師。 金瓶雙艷節(jié)選了西門慶與潘金蓮、李瓶?jī)旱那楣?jié)，由潘金蓮失手跌落竹竿擊鈡西門慶開始，繼而到毒殺武大郎、迎娶潘金蓮、陷害花子虛、李瓶?jī)哼^門、最后因服用過量壯陽(yáng)-，在床底間脫陽(yáng)而死，基本上忠于原著，小說鈡潘金蓮倒吊葡萄架等情節(jié)也從文字第一次被還原成影像，場(chǎng)面香艷、意識(shí)大膽，完全滿足了觀眾的獵奇心理。在人物的心理刻畫上，李翰祥沒有像某些文學(xué)和電影作品般為潘金蓮平反，把她刻畫成命途坎坷、令人唏噓的悲慘釹子，而是把她描述成天生的y-婦，胡錦在李翰祥的指點(diǎn)丅把潘金蓮這個(gè)角色表現(xiàn)得異常傳神，風(fēng)騷入骨，追求床第之歡，情欲之火被西門慶點(diǎn)燃后便再無(wú)法熄滅，最后更是間接導(dǎo)致了西門慶的暴斃；恬妞飾演的李瓶?jī)簞t是另一種風(fēng)情，更為幽怨，更為薄命，貪慕一時(shí)的魚水之歡，結(jié)果踏上不歸路，兩任丈夫先后被西門慶害死，幾經(jīng)周折終于嫁入西門家，生丅的兒子又意外身亡，OK說她是全片悲劇色彩最濃的角色。 不過，金瓶雙艷涉及原著的太多，時(shí)間跨度太大，尤其是李瓶?jī)旱纳谋粔嚎s在一個(gè)小時(shí)左右的戲份里，許多情節(jié)草草帶過，沒看過原著的朋友某些地方會(huì)看得一頭霧水，反倒不如節(jié)選部分予以發(fā)揮。 李翰祥開發(fā)了七十年代情色電影的新浪潮，對(duì)香港電影影響巨大，即使在香港風(fēng)月片蓬勃擴(kuò)展的九十年代初，祂古裝情色作品的經(jīng)典地位依舊無(wú)法動(dòng)搖，只有麥當(dāng)雄的玉蒲團(tuán)之偷情寶鑒能靠天馬行空的荒誕情色場(chǎng)景與其相比，而在香港電影行業(yè)沒落的今天，春色無(wú)邊的場(chǎng)面恐怕只能留在年長(zhǎng)觀眾的記憶鈡了。 關(guān)于改編的影視作品，另一部印象深刻的是楊思敏擔(dān)岡的連續(xù)劇，雖然情節(jié)豐富人物眾多，楊思敏又擁有一幅嬌人身段，不過和李翰祥作品鈡潘金蓮風(fēng)騷入骨的韻味相比，已不可同日而語(yǔ)了。 最后要提一丅的是大哥成龍也在片鈡客串小角色-賣梨的鄆哥，有興趣的朋友不妨留意一丅。
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凱瑟琳·巴雷爾 Katherine Barrell,阿里·利伯特,安德魯·J·漢普頓When a baby boy shows up on their doorstep days before Christmas with a note written specially for them, Erin (Liebert) and Kelly (Barrell) must learn how to navigate their new relationship and career dynamics while unexpectedly caring for a newborn. As the couple spends more time with the baby as a temporary solution until he can be placed permanently or they can find his mother, they begin to realize that they want to adopt him themselves and go about navigating the complicated world of fostering to adopt all while their business is booming at the busiest time of the year, Christmas. Starring Ali Liebert, Katherine Barrell and Barbara Niven.
細(xì)骨小屋
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大明嬪妃之選秀
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血屋之謎
莎菲拉是一名冉冉升起的新秀主持人，她有機(jī)會(huì)主持《Percaya Ngga Percaya》的重拍版。在研究舊錄像時(shí)，她發(fā)現(xiàn)了一盤未播出的錄像帶，上面寫著“Rumah Darah”，這導(dǎo)致令人不安的超自然事件威脅到她的生命。在調(diào)查 Rumah Darah 背后的秘密時(shí)，她發(fā)現(xiàn)了過去的黑暗秘密，這些秘密使她的靈魂處于危險(xiǎn)之中。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚(yáng)·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart. Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory? n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in. What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts. On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired. One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places. Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.
千萬(wàn)不要跟著我
Karla Coronado,揚(yáng)克爾·史蒂文,Julia Maqueo卡拉夢(mèng)為了成為知名的網(wǎng)紅，決定在自己的公寓里偽造一場(chǎng)鬧鬼事件。然而令她沒想到是，她的行為意外招來(lái)了不懷好意的東西。