情陷百樂門
時鐘酒店百樂門發(fā)作置疑虐殺案，死者是一名叫Wyman的高檔妓女，擔(dān)任此案的警探彭Sir和其手下石頭參與后，發(fā)現(xiàn)Wyman伏尸的房間通過盡心擺設(shè)，絕非通常時鐘酒店的格式，所以打開查詢。 與此同時，彭Sir透過當(dāng)私家偵探的老友阿平得知，其老婆Winnie紅杏出墻，與另外男人有染，彭Sir在不明白應(yīng)對的情況下，決議以作業(yè)麻醉個人，專注查案。彭Sir別離找了不少有關(guān)人等幫忙查詢，其間包含百樂門的業(yè)主，身為黑道年老的神爺，持牌人，亦即神爺?shù)那捌耷浣?，還有染有毒癮的鐘房阿俠、以及其女友JJ、Wyman的好姊妹Lisa等。 種種依據(jù)顯現(xiàn)，嫌疑最大的，即是Wyman的男友豪仔，和常常與Wyman有性買賣的捕快張Sir。張Sir為了自保，向彭Sir供出該房間，乃神爺專為政界官員組織性買賣的秘地，但否定Wyman的死與他有關(guān)。彭所以向神查詢，神卻反勸彭別查下去
即刻觀影
劇情賞析
編輯推薦
旅行的機器人
山寺宏一,林原惠美旅にはいつも出會いと別れがある。
獵殺游戲
格倫·鮑威爾,喬什·布洛林,邁克爾·塞拉,科爾曼·多明戈,凱蒂·M·奧布萊恩,李·佩斯,威廉·H·梅西,西恩·海耶斯,大衛(wèi)·札亞斯,杰米·勞森,艾米莉亞·瓊斯,卡爾·格洛斯曼,丹尼爾·埃茲拉,李·查爾斯,桑德拉·迪金森,喬治·卡羅爾,索菲·西蒙特,奧妮克·阿德莉,喬伊·安沙,布蘭登·伯克在近未來的反烏托邦社會，電視真人秀《過關(guān)斬將》（The Running Man）以血腥的生存競賽霸占收視榜首。參賽者被稱為“跑者”（Runners），必須在職業(yè)殺手的追獵下存活30天，一舉一動皆被實時直播給嗜血的公眾觀眾；每多活一天，便能累積更高額獎金?！ 」と穗A級的本·理查茲（格倫·鮑威爾 飾）為拯救重病女兒孤注一擲，被節(jié)目魅力十足卻冷酷無情的制作人丹·基利安（喬什·布洛林 飾）說服，以“最后希望”的身份踏入這場死亡游戲?！ ∪欢?，本的叛逆、求生本能與堅韌意志，竟讓他意外成為全民追捧的偶像——同時也成了整個體制的致命威脅。 隨著收視率飆升至巔峰，危險指數(shù)同步暴漲。本不僅要智勝步步緊逼的獵人，更需對抗整個國度對他“慘敗”的瘋狂期待?！ ∮捌木幾允返俜摇そ鸬耐≌f。
洛杉磯劫案
克里斯·海姆斯沃斯,馬克·魯法洛,巴里·基奧恩,哈莉·貝瑞,莫妮卡·巴巴羅,科里·霍金斯,尼克·諾特,詹妮弗·杰森·李,泰特·多諾萬,保羅·安德斯坦,戴文·博斯蒂克,德魯·鮑威爾,帕特里克·穆爾維,馬修·德爾·內(nèi)格羅,安德拉·內(nèi)切塔,法希姆·法茲利,佩曼·莫阿迪,丹·佩羅,喬?！に雇?哈娜可·福特曼從未失手的珠寶大盜，本想干完最后一票便金盆洗手，卻與中年失意的精英高管意外結(jié)盟，聯(lián)手布下棋局。另一邊，深陷職場困局的王牌警探，正憑借蛛絲馬跡一步步將矛頭對準(zhǔn)他們，更有黑幫劫匪暗中蟄伏，伺機攪局。螳螂捕蟬、黃雀在后，當(dāng)規(guī)則與道德的邊界被打破，這場顛覆命運的驚天罪案，究竟誰能安全脫身？
百燭游戲
Magui Bravi,Luz Champané,Amparo Espinola,克拉拉·科瓦西奇,Agustin Olcese,Amy Smart,James WrightA group of friends must confront their fears in a terrifying game.
百燭游戲
Magui Bravi,Luz Champané,Amparo Espinola,克拉拉·科瓦西奇,Agustin Olcese,Amy Smart,James WrightA group of friends must confront their fears in a terrifying game.
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·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.