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人皮燈籠
梁家輝,邱淑貞,黃光亮,張耀揚,苑瓊丹,黃斌,林迪安,樂韻1963年，一伙黑幫分子在老大的指使下將一對情人殘忍殺害，男子被埋在“十世受苦，不得超生”的陰穴處；而女子被扒皮，皮罩在燈籠上，永世不得超生?！ ?993年，蠱惑仔阿輝（梁家輝 飾）終日倒霉透頂，而且身邊連連發(fā)生奇怪靈異世間。阿輝在古董攤買下一古董表，卻被一股力量莫名牽引到一棟廢宅里，半夢半醒間見自己與一個叫小芙蓉的藝旦（邱淑貞 飾）親熱的場面。 輝在醫(yī)院被一鬼魂提醒只有四婆能夠解救自己，于是他前往找四婆。四婆為他問米，他從盆中之水漸漸看到了自己的前世悲慘遭遇……
金剛不壞2024
喬杉,柳巖,梁龍,孫陽,楊新鳴,桑平,劉長純,代樂樂金剛回到了自己曾經(jīng)生活的地方，然而一切早已物是人非。這時，一起拐賣兒童的事件意外發(fā)生，金剛以一個局外人的身份開始尋找被拐的女孩，在這個過程中他的過往也依舊在糾纏著他…… 金剛將不得不面對自己最不愿意正視的傷痛……
孩子們安好
卡米爾·科坦,莫妮亞·喬柯里,朱麗葉·阿曼尼特,Mano? Varvat,Nina Birman,紀堯姆·谷伊,瑪麗亞姆·阿赫迪歐,弗蘭基·瓦拉赫,Tania Dessources,Camille Lethuillier,馬克西姆·施邦古,Zoé Briau,Jean-Fran?ois Hoche,Pauline Roux,阿麗亞娜·納齊里,Zakariya Gouram,Anna-Marie Filippi,Zbigniew Jankowski,William Louis,Jean-René Stani多年以后，蘇珊和她的兩個孩子意外地出現(xiàn)在她姐姐珍妮的家中。起初看起來像是蘇珊在試探性地試圖重新與姐姐建立關(guān)系。但隨著晨光的出現(xiàn)，這種幻覺破滅了：蘇珊消失了……內(nèi)森·安布羅西奧尼的這部親密電影，描繪了一位被迫成為母親的女人，而她對自己的孩子幾乎一無所知。他那極簡主義的敘事方式，卻充滿了深刻的共情，讓觀眾得以觀察這個新生家庭逐漸凝聚的緩慢過程，以及他們內(nèi)心的恐懼與猶豫，還有那毫無效率的國家機器的荒謬之處。這是一部法國電影，它反映了因必要性而產(chǎn)生的共同生活本質(zhì)的脆弱性，以及當(dāng)它源于愛時，它會變得多么強大。
利欲兩心
馬修·麥康納,阿爾·帕西諾,蕾妮·羅素,阿曼德·阿山特,杰里米·皮文,杰米·金,凱文·查普曼一次偶然中，布蘭登（馬修·麥康納 Matthew McConaughey 飾）發(fā)現(xiàn)自己竟然擁有一項如此神奇的特異功能——他能夠準確預(yù)測出每周末舉行的橄欖球比賽的結(jié)果。這一能力徹底扭轉(zhuǎn)了布蘭登失意而又頹廢的生活，同時也將他卷入了金錢和利益所構(gòu)造的漩渦之中?！ ∥痔兀ò枴づ廖髦Z Al Pacino 飾）經(jīng)營著一家體育顧問公司，布蘭登的神奇能力在他的眼中無異于是一根點石成金的魔杖。野心勃勃的他找到了布蘭登，千方百計的說服了后者加入了他的公司。從此，沃特的事業(yè)扶搖直上，布蘭登也在沃特的身上找到了親情和友情。但隨著布蘭登的能力的逐漸流逝，他和沃特之間的關(guān)系也開始了動搖。兩人心中都有各自的想法，而最終的贏家只有一個。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,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.
藍月亮2025
伊?！せ艨?瑪格麗特·庫里,鮑比·坎納瓦爾,安德魯·斯科特,西蒙·德蘭尼,約翰·多蘭,帕特里克·肯尼迪,喬納·利斯,伊雷恩·奧德懷爾,艾斯林·奧馬拉,基利安·沙利文,丹尼爾·米克·瑞恩,伊恩·迪龍勞倫茲曾是百老匯作詞家第一把交椅，卻在與理查德拆伙后事業(yè)跌落低谷。前搭檔新作的首演之夜，他故作大方獻上祝福，新仇舊恨交織下，終究不歡而散；他轉(zhuǎn)向忘年好友伊麗莎白尋找慰藉，又不禁懷疑友達以上的關(guān)系是否只是自作多情。偌大派對就像如今的百老匯，早已沒他的容身之處。過了今晚，美國音樂劇的黃金年代就要展開，他的盛世卻再也回不來，當(dāng)最后一曲〈藍月〉響起，即便成了終曲，也要忘情歌頌。