死亡之吻

評分:4.7 播放:15萬 更新:2026-04-23

While暫無內(nèi)容attempting暫無內(nèi)容to暫無內(nèi)容flee暫無內(nèi)容from暫無內(nèi)容the暫無內(nèi)容FBI,暫無內(nèi)容the暫無內(nèi)容criminal暫無內(nèi)容Frank暫無內(nèi)容Dallio暫無內(nèi)容kills暫無內(nèi)容Detective暫無內(nèi)容McKenna's暫無內(nèi)容wife,暫無內(nèi)容Rachel.暫無內(nèi)容McKenna暫無內(nèi)容himself暫無內(nèi)容is暫無內(nèi)容shot暫無內(nèi)容in暫無內(nèi)容the暫無內(nèi)容face暫無內(nèi)容by暫無內(nèi)容the暫無內(nèi)容professional暫無內(nèi)容killer暫無內(nèi)容Lyle暫無內(nèi)容Mason,暫無內(nèi)容who暫無內(nèi)容dies暫無內(nèi)容in暫無內(nèi)容a暫無內(nèi)容car暫無內(nèi)容crash暫無內(nèi)容shortly暫無內(nèi)容thereafter.暫無內(nèi)容The暫無內(nèi)容FBI暫無內(nèi)容persuades暫無內(nèi)容McKenna暫無內(nèi)容to暫無內(nèi)容undergo暫無內(nèi)容facial暫無內(nèi)容surgery暫無內(nèi)容and暫無內(nèi)容take暫無內(nèi)容the暫無內(nèi)容place暫無內(nèi)容of暫無內(nèi)容Lyle暫無內(nèi)容Mason暫無內(nèi)容in暫無內(nèi)容order暫無內(nèi)容to暫無內(nèi)容find暫無內(nèi)容Dallio暫無內(nèi)容and暫無內(nèi)容a暫無內(nèi)容valuable暫無內(nèi)容microchip.

劇情簡介

While暫無內(nèi)容attempting暫無內(nèi)容to暫無內(nèi)容flee暫無內(nèi)容from暫無內(nèi)容the暫無內(nèi)容FBI,暫無內(nèi)容the暫無內(nèi)容criminal暫無內(nèi)容Frank暫無內(nèi)容Dallio暫無內(nèi)容kills暫無內(nèi)容Detective暫無內(nèi)容McKenna's暫無內(nèi)容wife,暫無內(nèi)容Rachel.暫無內(nèi)容McKenna暫無內(nèi)容himself暫無內(nèi)容is暫無內(nèi)容shot暫無內(nèi)容in暫無內(nèi)容the暫無內(nèi)容face暫無內(nèi)容by暫無內(nèi)容the暫無內(nèi)容professional暫無內(nèi)容killer暫無內(nèi)容Lyle暫無內(nèi)容Mason,暫無內(nèi)容who暫無內(nèi)容dies暫無內(nèi)容in暫無內(nèi)容a暫無內(nèi)容car暫無內(nèi)容crash暫無內(nèi)容shortly暫無內(nèi)容thereafter.暫無內(nèi)容The暫無內(nèi)容FBI暫無內(nèi)容persuades暫無內(nèi)容McKenna暫無內(nèi)容to暫無內(nèi)容undergo暫無內(nèi)容facial暫無內(nèi)容surgery暫無內(nèi)容and暫無內(nèi)容take暫無內(nèi)容the暫無內(nèi)容place暫無內(nèi)容of暫無內(nèi)容Lyle暫無內(nèi)容Mason暫無內(nèi)容in暫無內(nèi)容order暫無內(nèi)容to暫無內(nèi)容find暫無內(nèi)容Dallio暫無內(nèi)容and暫無內(nèi)容a暫無內(nèi)容valuable暫無內(nèi)容microchip.

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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.

百燭游戲

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William Baldwin,安琪拉·瓊斯

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防彈武僧

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  一卷神秘的中國古代卷軸,由于蘊(yùn)藏著巨大的力量,邪惡的壞蛋們個(gè)個(gè)都想得到它來統(tǒng)治世界;一個(gè)來自中國西藏的無名武僧(周潤發(fā) 飾),為了保護(hù)著卷卷軸,一直過著顛沛流離的生活,他幾乎躲遍了世界的每一個(gè)角落。直到有一天,武僧覺得累了,于是,他開始物色合適的人成為自己的弟子,將這個(gè)艱巨的任務(wù)繼承下去。街頭混混卡爾(西恩?威廉?斯科特 Seann William Scott 飾)偶然中幫武僧解了圍,或許是心靈感應(yīng),武僧感應(yīng)到這個(gè)混小子就是自己的傳人了,于是決定將一身武功傳給卡爾??栭_始了他對抗邪惡的艱難宿命。

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