劇情簡(jiǎn)介
湯姆試圖說(shuō)服他的妻子參加他們的色情游戲。誘惑性自由似乎太多她。色情生產(chǎn)博卡垃圾桶。超越線和地平線的字符之間。
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電視臺(tái)風(fēng)云
費(fèi)·唐納薇,威廉·霍爾登,彼得·芬奇,羅伯特·杜瓦爾,尼德·巴蒂,比阿特麗斯·斯特雷特妻子的死給電視臺(tái)王牌主播霍華德（彼得·芬奇 Peter Finch 飾）帶來(lái)了沉重的打擊，使他陷入痛苦和悲傷中無(wú)法自拔。電視臺(tái)決定解雇已經(jīng)無(wú)心工作的霍華德，霍華德的老朋友麥克斯（威廉·霍爾登 William Holden 飾）成為了傳達(dá)這一噩耗的不二人選。得知自己即將被 解雇，為電視臺(tái)做牛做馬多年的霍華德十分憤怒，在第二天的節(jié)目上，他竟然向觀眾們預(yù)告，自己即將進(jìn)行自殺直播。霍華德的這一出格舉動(dòng)惹惱了電視臺(tái)的高層，更讓一直對(duì)麥克斯心存不滿的總裁弗蘭克（羅伯特·杜瓦爾 Robert Duvall 飾）發(fā)現(xiàn)了找茬的機(jī)會(huì)。在隔天的新聞直播中，霍華德理應(yīng)按計(jì)劃對(duì)自己的不慎言行做出道歉，可是惱羞成怒的他卻大放厥詞，將矛頭直指當(dāng)代美國(guó)的種種弊端。女制片人戴安娜（費(fèi)·唐納薇 Faye Dunaway 飾）從霍華德的一系列行為中看出了商機(jī)，她買(mǎi)通了弗蘭克，成為了霍華德背后的推手。
他年她日
許光漢,袁澧林,陳澤耀,韓佩瑤,董瑋,陳輝虹,駱振偉,許恩怡,謝詠欣在一場(chǎng)世紀(jì)大地震后，矗立于海中央的“重力墻”將世界一分為二，形成兩個(gè)不同的時(shí)區(qū)和重力環(huán)境，“優(yōu)日區(qū)”的一天，是“長(zhǎng)年區(qū)”的一年。長(zhǎng)年區(qū)長(zhǎng)大的薯仔（許光漢 飾）對(duì)來(lái)自優(yōu)日區(qū)的實(shí)習(xí)醫(yī)生安晴（袁澧林 飾）一見(jiàn)鐘情，面對(duì)時(shí)間和地理的巨大阻礙，薯仔和安晴用盡全力雙向奔赴，以年思念，以日相見(jiàn)。在失衡的時(shí)空里，他們能否堅(jiān)定地愛(ài)到最后，守護(hù)這場(chǎng)刻骨銘心的愛(ài)戀？
對(duì)魚(yú)的布道
拉納·阿斯加洛娃,奧爾汗·依斯干達(dá)里,侯賽因·納西羅夫達(dá)武德從戰(zhàn)爭(zhēng)中歸來(lái)，發(fā)現(xiàn)他村里的每個(gè)人都死于一種奇怪的疾病并且已經(jīng)腐爛。 他的妹妹是唯一的幸存者，也正在慢慢腐爛。 達(dá)武德被他作為一名士兵的記憶所困擾，因?yàn)樗媾R著唯一真正的問(wèn)題：生存和生活一樣嗎？
萬(wàn)物生靈：2025圣誕特別集
尼古拉斯·瑞夫,蕾切爾·申頓,薩繆爾·韋斯特,安娜·梅德利,卡勒姆·伍德豪斯,派翠西亞·霍吉,蓋亞·懷斯Channel 5和PBS Masterpiece宣布一次性續(xù)訂《萬(wàn)物生靈》第五季、第六季，均由6集和圣誕特別集組成。
裂口女
佐藤江梨子,加藤晴彥,水野美紀(jì),川合千春20世紀(jì)70年代，在日本中小學(xué)生中間流傳著這樣一個(gè)恐怖的傳說(shuō)：放學(xué)獨(dú)自走到公園附近時(shí)，會(huì)遇到一個(gè)帶著白色口罩、穿紅色風(fēng)衣的女人。遇到路過(guò)者，她會(huì)摘下口罩，露出裂到耳朵的恐怖大嘴，問(wèn)對(duì)方“我漂亮嗎？”如回答不漂亮，她會(huì)將對(duì)方毀容；若回答漂亮，她就將對(duì)方變得和自己一樣；如果逃跑，她會(huì)以極快的速度追上。這個(gè)女人的名字就叫：裂口女。 各學(xué)校一時(shí)間人心惶惶，男女學(xué)生們都怕碰到這個(gè)可怕的女人，而大人們卻對(duì)這個(gè)謠言嗤之以鼻。但隨著一場(chǎng)不詳?shù)牡卣鸢l(fā)生，裂口女終于到來(lái)……
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.
附身
阿比蓋爾·布雷斯林,大衛(wèi)·休萊特,史蒂芬·麥克哈蒂,彼得·奧特布里奇,米歇爾·諾爾頓,薩曼莎·溫斯坦1985年，濃霧籠罩的郊外，周日早晨少女麗莎·約翰遜（阿比蓋爾·布蕾斯琳 Abigail Breslin 飾）被弟弟羅比（Peter DaCunha 飾）吵醒。她頗感煩惱地起床，按照媽媽（米歇爾·諾爾頓 Michelle Nolden 飾）的指示洗衣服，爸爸布魯斯（彼德·奧德博拉治 Peter Outerbridge 飾）則在地下室修著汽車?？此破椒矡o(wú)奇的普通人家，卻彌漫著詭異神秘的氣息。不知曾幾何時(shí)，麗莎發(fā)現(xiàn)每天重復(fù)著同樣的內(nèi)容，家人反復(fù)干著同樣的事、說(shuō)著同樣的話、度過(guò)同一個(gè)濃霧籠罩的周末。她嘗試改變這一切，然而無(wú)從下手，此外更有帶著死神氣息的男子警告麗莎不要破壞當(dāng)前的一切。無(wú)法忍受折磨的麗莎，不可避免落入過(guò)去、現(xiàn)在和未來(lái)的夾縫中，局勢(shì)完全失控……