出軌的女人
萬太太(夏文汐暫無內容飾)于無意中發(fā)現丈夫出軌的照片,十分痛苦傷心。朋友Jojo(葉璇暫無內容飾)和何太(吳家麗暫無內容飾)等人拉她去了鄰近的某高級娛樂會所嫖男妓。Jojo與丈夫黑白哥(杜汶澤暫無內容飾)感情冷淡,生活不合,因此長期在外尋歡作樂。何太太的丈夫忙于生意,冷落了家庭,她寂寞孤寂之下也開始在外尋歡作樂。在會所里,何太和萬太同時看上了帥氣迷人的bill(陳偉霆暫無內容飾)。心灰意冷的萬太卻發(fā)現bill對她分外熱情,兩人在肉體金錢關系之外逐漸陷入了愛情。何太不愿萬太霸占bill,于是兩人開始了一場搶奪。某日清晨醒來萬太發(fā)現身邊的人不是bill卻是他的同胞弟弟ben,故事慢慢展開了一場驚人的陰謀與糾葛......
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劇情簡介
萬太太(夏文汐暫無內容飾)于無意中發(fā)現丈夫出軌的照片,十分痛苦傷心。朋友Jojo(葉璇暫無內容飾)和何太(吳家麗暫無內容飾)等人拉她去了鄰近的某高級娛樂會所嫖男妓。Jojo與丈夫黑白哥(杜汶澤暫無內容飾)感情冷淡,生活不合,因此長期在外尋歡作樂。何太太的丈夫忙于生意,冷落了家庭,她寂寞孤寂之下也開始在外尋歡作樂。在會所里,何太和萬太同時看上了帥氣迷人的bill(陳偉霆暫無內容飾)。心灰意冷的萬太卻發(fā)現bill對她分外熱情,兩人在肉體金錢關系之外逐漸陷入了愛情。何太不愿萬太霸占bill,于是兩人開始了一場搶奪。某日清晨醒來萬太發(fā)現身邊的人不是bill卻是他的同胞弟弟ben,故事慢慢展開了一場驚人的陰謀與糾葛......
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金明民,嚴基俊惡魔在上
丹尼爾·尤因,蒂姆·波考克,Sophie Don,杰西卡·格林,Ben Chisholm,Emily Joy,James Straiton,費利克斯·威廉森,約翰·雷諾茲告別武器
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血腥姐妹會
科林·伊格斯菲德,迪倫·斯派比利,米婭·羅斯·弗蘭普頓,蘭迪·庫卓,萊克西·阿特金斯,Lala Kent,Sarah McDaniel,雷卡·雷內,梅莉爾·羅斯,泰勒·喬恩·奧爾森,凱瑟琳·勒,塔尼婭,謝伊·巴克納,詹妮弗·提圖斯,Natali Yura十月建造的房屋2
Brandy Schaefer,Zack Andrews,Mikey Roe,Jeff Larson,Bobby Roe,Kate Biddle,Bob Ballou,Tamara Chambers,Wade Clark,Clicks,Landon Colby,盧卡斯·戈弗雷,Tyson Colby,Andrea Hays,Adam Heatherly,Margee Kerr,Takeru Kobayashi,Mini Kiss,Jacquie Lantern,尼克·里昂,Gina Martinez,Ka死命必達
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極度失眠
1997年,一部來自挪威的驚悚片《失眠者》上映后獲得好評,《芝加哥太陽報》的著名影評人羅杰,艾伯特給出了3星半的高分,他盛贊該片“不僅僅是一部驚悚片或動作片,而是一次心理學上的探索與學習”。兩犯罪調查者到挪威北方一個鎮(zhèn)幫助解決一個年輕的女孩的謀殺案,誰知陷入了巨大的困境之中。
安娜和世界末日
一部混雜音樂劇和喪尸電影的喜劇片,這部僵尸歌舞片的框架基于2010年英國電影學院獎獲獎短片《僵尸音樂劇》(暫譯)(ZombieMusical),講述了一大波僵尸窮追猛打一撮人,他們邊唱邊打,不斷求生的故事。電影取景地為蘇格蘭,由艾拉·亨特出演安娜,馬克·本頓飾演安娜的父親,保羅·凱耶出演反派。
等待方舟
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.