兒子的女友父親的女友

交響詩(shī)篇超進(jìn)化3

內(nèi)詳暫無(wú)簡(jiǎn)介

格吉（殺人鬼）

東北警察故事3

李紅旗要辦婚禮了！本想婚禮一切從簡(jiǎn)，但彪悍熱心的丈母娘（林曉杰 飾）堅(jiān)持做主想大操大辦，李紅旗不得不飛往海角，落地后卻得知飛機(jī)鄰座女孩昕昕（馬千壹 飾）被人販子拐走。面對(duì)兇殘狡猾的犯罪團(tuán)伙，李紅旗與當(dāng)?shù)剞k案風(fēng)格迥異的警察孫彪（崔志佳 飾）強(qiáng)強(qiáng)聯(lián)手，在婚期逼近的倒計(jì)時(shí)中和人販子頭目秦葉蓉（黃米依 飾）及賣(mài)魚(yú)佬（伍允龍 飾）展開(kāi)殊死搏斗?；槎Y籌備笑料百出，辦案追兇驚心動(dòng)魄——紅旗不倒，正義不休假！看李紅旗如何罪犯、幸福兩手抓。

18歲的青春

影片講述以與眾不同的教育觀念獲得學(xué)生們的歡迎，但在老師同事間遭受白眼的熙珠（全昭旻 飾），和討厭異想天開(kāi)的18歲高中生純情（全度延 飾）的相遇。

巴黎廚房

　　時(shí)尚的餐廳大都市“莫奈”紅紅火火。正是在這里，維克和馬克西姆要慶祝期待已久的婚禮。但計(jì)劃有變，當(dāng)餐廳是規(guī)定會(huì)談俄羅斯和法國(guó)的總統(tǒng)！餐廳隊(duì)?wèi)K敗，被迫進(jìn)入“流亡” - 在巴黎舉行。有廚師用馬克斯面臨危險(xiǎn)的競(jìng)爭(zhēng)對(duì)手：廚師 - 與近親，和馬克西姆 - 與一個(gè)英俊的尼古拉斯，誰(shuí)轉(zhuǎn)過(guò)頭比維克起泡酒香檳更好！而這還不是他的“全城熱戀”中的所有挑戰(zhàn)，你應(yīng)該試著挽回面子，喂總統(tǒng)和克服障礙萬(wàn)元點(diǎn)菜法國(guó)文化……

等待方舟

　　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.