即刻觀影
劇情賞析
編輯推薦
掏出你的手帕
熱拉爾·德帕迪約,卡洛?！诶?帕特里克·迪瓦爾,米歇爾·塞羅爾,埃萊奧諾雷·希爾特這是一位始終以兩性關(guān)系、婚姻道德為主題的電影作者，這部獲得奧斯卡最佳外語片的《掏出你的手帕》也不在例外。關(guān)于影片，布里耶是這樣解釋的：“表面上看這是一部怪誕的電影，但實(shí)際上這是一部徹底顛倒道德標(biāo)準(zhǔn)的片子，不過表現(xiàn)得比較委婉且具有魅力。如果仔細(xì)觀察就可以看出，所有的道德價值都被顛倒了，所有的道德傳統(tǒng)都被拋到了一邊。人物的思想狀態(tài)正處于一種極端混亂的時期，今天你也許還不會把妻子當(dāng)作禮物送給別人，但也許將來你就可以做到了?！?/p>
新·胡鬧將軍
松平健,西畑大吾,生瀨勝久,高島禮子,藤間爽子,小澤征悅,勝村政信,小野武彥,木村了,駒木根葵汰,內(nèi)藤秀一郎,神威樂斗這次特別篇的舞臺，是吉宗治世20多年后的江戶城。原創(chuàng)系列中年輕的將軍吉宗也面臨著六十大壽的繼承問題。劇中保留了系列的世界觀和魅力，在繼承問題上搖擺不定的吉宗和江戶城內(nèi)的人們的模樣，以及在城下町發(fā)生的陰謀漩渦的疑難事件，將被加入新的角色和時代性來描繪。
非法入侵
尼古拉斯·凱奇,妮可·基德曼,本·門德爾森,麗亞娜·萊伯拉托,凱姆·吉甘戴,喬丹娜·斯皮羅,達(dá)什·米霍克,艾米麗·梅德,尼可·托托雷拉米勒一家似乎擁有所有人都夢寐以求的生活：豪宅、跑車、美滿的家庭。在一個普通的日子，美麗的妻子薩拉（妮可·基德曼 Nicole Kidman 飾）迎接出差回家的丈夫，成功的鉆石采購商凱爾（尼古拉斯·凱奇 Nicolas Cage 飾）。凱爾回家的同時青春期的女兒則艾弗瑞（麗亞娜·萊伯拉托 Liana Liberato 飾）瞞著父母偷偷溜出家門去參加朋友家的派對?？墒翘煊胁粶y風(fēng)云，一伙由四人組成的搶劫團(tuán)伙闖進(jìn)米勒家，綁架了夫婦二人欲實(shí)施搶劫。艾弗瑞參加完派對回家也不幸撞到了家中正在發(fā)生的悲劇。面對喪心病狂的劫匪，米勒一家將怎樣解除危機(jī)？他們是否會安然無恙？而這看似普通的搶劫背后是否又有不為人知的陰謀和骯臟的秘密？
黑暗中的救贖
果靖霖,任泉,劉敏濤,郝平,孫一理在一個喧鬧、嘈雜的迪廳中，一群衣著時尚暴露的青年男女正在吸食著毒品，隨著毒品效果的發(fā)作，男女們的行為更加放蕩，而就在這群人中一個憂郁冷峻的年輕人林雨（任泉 飾）正在若有所思的抽著煙。這時，大批的警察突襲迪廳，混亂中林雨奮力的向外沖去，慌忙中他把一個擋在面前的警察扎倒在地……黎明，驚魂未定的林雨被帶進(jìn)了城東看守所，獄警盧建軍（果靜林 飾）在一旁冷眼旁觀，然而讓他始料不及的是，一段被埋藏了二十多年的驚天秘密，將在他和這個鋃鐺入獄的年輕人之間展開。
郊區(qū)男孩 3
Kery James,Bakary Diombera Bakary Diombera,Jammeh Diangana...
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.