十八，十九

評(píng)分：6.9 播放：37萬(wàn) 更新：2026-04-24

　　瑞雅（白珍熙 飾）和浩亞（劉延熙 飾）是一對(duì)感情十分要好的兄妹，幾乎形影不離。隨著時(shí)間的推移，瑞雅和浩亞都漸漸長(zhǎng)大，進(jìn)入青春期后，瑞雅發(fā)現(xiàn)自己對(duì)哥哥產(chǎn)生了超越了親情的感情。無(wú)法壓抑心中的悸動(dòng)，瑞雅終于向浩亞告白了，為了逃避心中的不知所措，浩亞和名叫斗美（嚴(yán)賢京 飾）的女生開(kāi)始了交往，心痛萬(wàn)分的瑞雅亦轉(zhuǎn)而向拳擊部前輩日康（金正憲 飾）尋求安慰?！　【瓦@樣，四名青蔥男女的命運(yùn)和愛(ài)情糾葛到了一起。為了排解心中的壓抑，浩亞迷上了拳擊，頗具天賦的他很快就站在了新人錦標(biāo)賽的拳擊臺(tái)上，而他所要面臨的對(duì)手不是別人，正是日康。

影片推薦

同類精選

影視排行

假日旅館

平·克勞斯貝,弗雷德·阿斯泰爾,瑪喬麗·雷諾茲,弗吉尼亞·戴爾,沃爾特·艾貝爾,路易絲·比弗斯,歐文·培根

 影片由一系列音樂(lè)片斷構(gòu)成，由擅長(zhǎng)歌舞巨片的馬克·桑德里區(qū)執(zhí)導(dǎo)。其中每一首插曲都以美國(guó)的節(jié)假日為線索，又都巧妙地集中到一對(duì)情敵的身上。本片獲1943年第15屆奧斯卡最佳編劇和最佳音樂(lè)獎(jiǎng)提名！一家開(kāi)設(shè)在公路邊的旅館，兩個(gè)年輕的合伙人哈迪和海諾沃同時(shí)愛(ài)上了一位姑娘。海諾沃（由著名舞蹈家弗雷德·阿斯泰爾飾）盡管在愛(ài)情的追逐中連連占先，但最終還是敗給了哈迪（由著名歌星賓·克羅斯比飾）。哈迪是位酷愛(ài)音樂(lè)的懶散的人，他退休回到新英格蘭農(nóng)村，每逢節(jié)假日，他的農(nóng)場(chǎng)就成了娛樂(lè)總會(huì)……

倚天屠龍記之魔教教主

李連杰,張敏,邱淑貞,黎姿,洪金寶,吳鎮(zhèn)宇,吳耀漢,曹榮,閆懷禮,梁家仁,鄒兆龍,田啟文,張春仲,姬麒麟

　　張翠山（吳鎮(zhèn)宇 飾）攜妻及子張無(wú)忌（李連杰 飾）從孤島出發(fā)趕去給其師父賀百歲大壽的途中，被人暗算，張無(wú)忌中寒冰掌。在武當(dāng)山，張翠山和妻子被各大門(mén)派逼迫致死，張無(wú)忌也不再能練習(xí)武功，只能靠張三豐每日所輸真氣得以殘活。張三豐的舉動(dòng)引來(lái)宋青書(shū)（鄒兆龍 飾）的妒忌，他聯(lián)合了峨眉女弟子周芷若（黎姿 飾）共同對(duì)付張無(wú) 忌。明教圣女小昭（邱淑貞 飾）令張無(wú)忌改變命運(yùn)，使其先在斷崖上遇到高人治好體內(nèi)寒冰毒、學(xué)會(huì)九成“九陽(yáng)神功”，又在明教禁地練得“乾坤大挪移心法”。得知蒙古郡主趙敏（張敏 飾）設(shè)計(jì)令江湖六大派圍攻光明頂想殲滅明教時(shí)，張無(wú)忌決意為拯救明教赴湯蹈火。

塵兔

大衛(wèi)·達(dá)斯馬齊連,麥斯·米科爾森,西格妮·韋弗,瑞貝卡·亨德森,希拉·阿蒂姆,索菲·斯隆,Wael Alroyly,Sute Zhao

　　小女孩Aurora(Sloan)去尋求鄰居(米科爾森)的幫助：她相信家人被住在自己床底下的一個(gè)妖怪吃掉了，而這個(gè)鄰居恰巧是訓(xùn)練有素的殺手，并且確信Aurora的父母是被一群來(lái)殺自己的人給誤殺，于是，殺手的第一要?jiǎng)?wù)變成了保護(hù)小女孩的安全，兩人一起上路，并肩面對(duì)自身的惡魔。

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.