即刻觀影
劇情賞析
編輯推薦
搖滾萬(wàn)萬(wàn)歲
羅伯·萊納,邁克爾·麥基恩,克里斯托弗·格斯特,哈里·謝爾,布魯諾·柯比,小艾德·博格里,比利·克里斯托,安杰麗卡·休斯頓,佛萊德·威拉特1982年，英國(guó)傳奇重金屬樂(lè)隊(duì)Spinal Tap搖滾樂(lè)團(tuán)紅極一時(shí)。電影導(dǎo)演馬蒂（羅伯·萊納 Rob Reiner 飾）是Spinal Tap樂(lè)團(tuán)的一位忠實(shí)粉絲。Spinal Tap樂(lè)團(tuán)要來(lái)美國(guó)舉行一次復(fù)出巡演，馬蒂則為Spinal Tap樂(lè)團(tuán)拍攝隨行紀(jì)錄片。本部仿紀(jì)錄片刻意杜撰出一個(gè)英國(guó)搖滾樂(lè)團(tuán)Spinal Tap，活靈活現(xiàn)的刻畫(huà)出了搖滾樂(lè)團(tuán)臺(tái)上臺(tái)下表里不一的嘴臉，對(duì)當(dāng)代搖滾樂(lè)做出了尖銳的諷刺和嘲諷?！ ”酒闪_伯·萊納自編自導(dǎo)自演之作。影片中的電影音樂(lè)均由演員們親自演奏創(chuàng)作而成。
縱橫四海
周潤(rùn)發(fā),張國(guó)榮,鐘楚紅,朱江,曾江,胡楓,唐寧,鄧一君砵仔糕（周潤(rùn)發(fā) 飾）、阿占（張國(guó)榮 飾）和紅豆（鐘楚紅 飾）均是孤兒，在養(yǎng)父（曾江 飾）栽培下成為國(guó)際大盜。長(zhǎng)大后成了幫他賺錢(qián)的藝術(shù)品大盜，而三人同時(shí)又認(rèn)了警察（朱江 飾）為干爹。法國(guó)巴黎博物館內(nèi)，名畫(huà)《赫林之女仆》被人盜走。與此同時(shí)，阿海、阿占和紅豆三人以敏捷身手盜得另一幅名畫(huà)，在與法國(guó)大哥交易時(shí)得知名畫(huà)《赫林之女仆》在妖氣重重的古堡內(nèi)，他們?cè)谠才畔鲁晒Φ乇I取此畫(huà)之后，反被集團(tuán)原兇曾江與法國(guó)大哥合謀設(shè)下陷阱，派人追殺滅口。阿海駕車(chē)與殺手快艇相撞……三人失散，數(shù)年后，他們?cè)谙愀壑鼐郏⒑！鞍c瘓”住在朱江家里，阿占和紅豆已經(jīng)結(jié)婚了。曾江又逼他們?nèi)ネ诞?huà)……
角落小伙伴：天空王國(guó)與兩位小伙伴
井之原快彥,本上真奈美故事舞臺(tái)設(shè)于云上天空王國(guó)。當(dāng)王子從天空王國(guó)墜入陰雨連綿的角落小鎮(zhèn)，救助王子的角落小伙伴們得知云上世界陷入嚴(yán)重水危機(jī)，為拯救王國(guó)展開(kāi)冒險(xiǎn)。
大蛇5：怪獸都市
張傲月,梁頌晴,包貝爾,釋彥能,姜超,苑瓊丹,石兆琪,鄔天,譚琍敏,毛凡太平洋雨夜，海灘尸骸遍野，貨船遭巨獸撕碎，災(zāi)難預(yù)兆降臨。邊郊監(jiān)獄內(nèi)，死刑犯烏川臨刑前夜遇史前大蛇襲擊，混亂中越獄，卻在唐人街被女警秦雅擒獲。 恰逢驲琿化工爆發(fā)蛇災(zāi)，烏川母親被困車(chē)間，他拒捕欲救人，此時(shí)各類(lèi)史前怪獸肆虐，城市淪為煉獄。二人與幸存者躲進(jìn)超市，合力斬殺潛藏怪物。眾人查明，驲琿化工違規(guī)排海才引生物報(bào)復(fù)。 吳川挺身營(yíng)救母親與幸存者，擊敗大蛇阻止二次污染
漁民的故事
豪爾赫·A·希門(mén)尼斯,Alejandra Herrera,蕾內(nèi)塔·瓦卡,安德雷斯·德?tīng)柤佣?Perla Alejo,José Antonio Becerril,Myriam Bravo,Agustin Cornejo,安娜·迪亞斯,Maritza Estrada,Waldo Facco,Bibiana Godínez,梅賽德斯·埃爾南德斯,諾伊·埃爾南德斯,霍澤·梅蘭德斯,Daniela Momo,Don Fulgencio Morales,Ruby Vizcarra傳說(shuō)很久以前，大自然在湖邊和諧共生，直到邪惡降臨。被黑暗欲望蒙蔽的人帶來(lái)了恐懼、仇恨和死亡。漁民們稱(chēng)之為L(zhǎng)a Miringua，就是因?yàn)槟愕淖飷憾涯阃系胶锏哪莻€(gè)。
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.