劇情簡介
坐在輪椅上的父親為滿足自己的變態(tài)心理，從小到大一直監(jiān)控著自己的女兒，當(dāng)女兒接觸到性，并不斷和不同男人嘗試交歡的時(shí)候，猥瑣的父親借此滿足自己的變態(tài)需求，不過在女兒不斷的察覺中，也慢慢發(fā)現(xiàn)了自己陷于了一個監(jiān)控的牢籠，她也將借此進(jìn)行變態(tài)的報(bào)復(fù)那個變態(tài)的父親...
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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.
摩斯拉
堺正俊,香川京子,Furank? Sakai,小泉博Shipwreck survivors are found on Beiru Island (Infanto t?), which was previously used for atomic tests. The interior is amazingly free of radiation effects, and they believe that they were protected by a special juice that was given to them by the island's residents. A joint expedition of Rolisican and Japanese scientists explores Beiru and discovers many curious things, including two women only one foot (30 centimeters) high. Unscrupulous expedition leader Clark Nelson abducts the women and puts them in a vaudeville show. But their sweet singing contains a telepathic cry for help to Mothra, a gigantic moth that is worshiped as a deity by the island people. The giant monster heeds the call of the women and heads to Tokyo, wreaking destruction in its path.
犬之力
本尼迪克特·康伯巴奇,克爾斯滕·鄧斯特,柯蒂·斯密特-麥菲,杰西·普萊蒙,托馬辛·麥肯齊,基思·卡拉丹,弗蘭西絲·康羅伊,吉娜維夫·萊蒙,肖恩·基南,George Mason,David Denis,科恩·霍洛維,愛麗絲·恩格勒特,Yvette Reid,斯特芬·勞瓦特,瓦季姆·列多戈羅夫,朱莉·福塞斯,彼得·卡羅爾,艾莉森·布魯斯,大衛(wèi)·T·林,亞當(dāng)·比奇,Ramontay McConnell,Max Mata,Ken Radley富有魅力的牧場主菲爾·伯班克（本尼迪克特·康伯巴奇 飾）讓他周圍的人又敬又怕。當(dāng)他的兄弟將新婚妻子以及她的兒子帶回家時(shí)，菲爾百般折磨他們，直到有一天，他發(fā)現(xiàn)自己對愛也存有一絲渴望。
惡徒2025
斯蒂芬·格拉漢姆,安德麗婭·賴斯伯勒,安森·布恩,奧斯汀·海恩斯,基特·拉庫森,卡勒姆·布斯-福特,薩萬娜·斯泰恩,諾亞·曼祖爾,Monika Frajczyk一名19歲的罪犯湯米（Tommy）被一對功能失調(diào)的夫婦克里斯（Chris）和凱瑟琳（Kathryn）綁架，并被迫接受他們的“改造計(jì)劃”，試圖將他塑造成一個“好男孩”。湯米必須設(shè)法逃脫。
時(shí)速72
弗蘭克·斯帕諾,喬治·阿克拉姆百萬富翁Diego Verastegui（Gustavo Alatriste 飾）在他自己的家里被殺害，保險(xiǎn)箱里寶貴的公文包也被取出來了，當(dāng)Diego Verastegui的保鏢回到家時(shí)，他發(fā)現(xiàn)了三名犯罪嫌疑人：Carlos Verastegui（George Akram 飾），百萬富翁的兒子；Anna Karina（Guillermo Londo?o 飾），一個可愛的女孩；安德烈斯，一個放蕩不羈的魔術(shù)師。三人各執(zhí)一詞，究竟他們誰才是殺害Diego Verastegui的兇手？
隱藏殺手2
Raphael Sbarge,Kate Hodge上集中異形并沒有被消滅掉，她又回來了，變得更加的強(qiáng)大，這次的主角輪到別克的女兒朱麗婭了，她和另一個伙伴要繼續(xù)面對新的挑戰(zhàn)了
浮出水面的影子
沈傲君,張偉欣,李佳,姜武故事發(fā)生在某女子監(jiān)獄中。深夜子時(shí)，萬籟俱寂，女囚周露（李佳 飾）面無表情地環(huán)視著陰暗的牢房，壓抑著狂野的情緒，時(shí)間一分一秒過去，她像下定決心般把雙手伸向了睡在一旁的另一位獄友。黑夜過去，白晝來臨，在遭眾獄友輪番凌辱后，周露被管教經(jīng)緯帶進(jìn)了發(fā)泄室中。監(jiān)房高處窗中射入刺眼的陽光，陽光穿透了周露傷痕累累的胳膊，那是她數(shù)次自殺未果的標(biāo)記。對著墻上斑駁的鏡片，她陷入痛苦難奈的回憶之中，冥冥間她似乎看到了早亡的父親，以及那個沾血的洋娃娃，又似乎看見了繼父那雙伸向自己的魔爪，還有被逼的瘋癲的母親，隨后又出現(xiàn)了向自己施暴的丈夫，周露徹底崩潰了......