即刻觀影
劇情賞析
編輯推薦
雙生疑云
Anjali,Joju George,Srindaa一名警察遇害身亡，查案的警員發(fā)現(xiàn)這與其雙胞胎兄弟及他們令人不安的過去有關(guān)，一場令人心驚膽戰(zhàn)的真相探查就此展開。
絕種好男人
任賢齊,張柏芝,李珊珊,葛民輝,杜汶澤,黃浩然,王天林,森美,阮小儀,劉愷威,李思捷,李楓,張文慈,黃泆潼,吳慧冰,黃琛如,王晶,張仕鏗,李霆鋒,何肇晃,黃卡娜,發(fā)爛渣,吳成達(dá),楊嘉雯,高寶云,文詩琪,葉景文,董偉強(qiáng),陸劍青,李正津因忍受不了男友Moses（任賢齊）的平凡，阿Mi狠心與他分手，塞翁失馬焉知禍福，Moses在老人院做義工時，與怪脾氣老頭蛤蚧王成為忘年之交，后者死后，給他留下巨額遺產(chǎn)。蛤蚧王的此舉招致其律師Allen的不滿，他在夜總會發(fā)泄時無意中將此事告訴了小姐Didi（張柏芝）?！ 閷oses釣到手，Didi使出渾身解數(shù)，無奈均不奏效。發(fā)現(xiàn)Moses是絕種好男人后，Didi對他動了真心，兩人開始熱戀，不久，Allen將Didi的原來身份相告Moses，令他異常傷心，此時，阿Mi又前來要與他復(fù)合。
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(jì)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(jī)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(qiáng)大。
血腥老虎：沖突開始
魯格曼·哈菲茲,本·阿米爾,阿馬爾·阿爾菲安警官哈金臥底潛入紅虎幫，并成功贏得該幫派的信任。他不僅成功揭露了他們的罪行，還必須直面這些殘暴的罪犯。然而，他遭遇背叛，陷入道德困境，在不為人知的情況下為維護(hù)正義而戰(zhàn)，他的忠誠度也受到了考驗。
恐怖列車
索拉·伯奇,吉迪恩·埃默里,卡凡·瑞斯,Derek Magyar,格羅瑞亞·沃特西斯,Todd Jensen,Vladimir Vladimirov五名美國業(yè)余摔跤選手艾歷克斯（Thora Birch 飾）、托德、克萊爾、威利、謝爾頓，在教練帶領(lǐng)下遠(yuǎn)赴東歐參加摔跤比賽，雖然他們輸?shù)袅吮荣?，但?dāng)晚仍興致勃勃參加了派對，以致耽誤了第二天開往敖德薩的火車，由于語言不通，他們一時買不到車票，一位說英語的金發(fā)女郎出現(xiàn)，帶領(lǐng)他們登上了車站內(nèi)的一列紅色火車。 甫一上車，隊員們的護(hù)照便被形容猥瑣的男乘務(wù)員收去，這列經(jīng)過改裝的列車上賭場、餐車、休息室一應(yīng)俱全，隊員們很快遠(yuǎn)離其他語言不通的乘客，躲在休息室玩起了真心話大冒險，然而在游戲進(jìn)行的過程中，托德消失在列車尾部，其他隊員也一一失蹤，艾歷克斯很快發(fā)現(xiàn)，她要獨自面對車上的幾個活體器官摘除者……
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·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.