默殺
初中女生惠君(徐嬌 飾)長期遭校園霸凌高處墜亡,暴行非但沒有停止,甚至禍延到閨蜜小彤(王圣迪 飾)身上。然而,霸凌者也接連殞命于重錘之下。在連環(huán)殺人案的背后,難脫嫌疑的眾人逐一浮出水面:小彤的母親(張鈞甯 飾)目睹女兒被膠水封嘴卻閉口不言,校工林在??此浦獣詢?nèi)情卻冷漠疏離,暗中窺探的神秘男吳望(黃明昊 飾)看似身陷險(xiǎn)境卻面露笑容……殺害霸凌者的雨夜屠夫究竟是他們其中的何人?調(diào)查案件的警官戴國棟(吳鎮(zhèn)宇 飾)似乎被假象蒙蔽,探秘過程中,宗宗藏污納垢的舊事被揭開,所有人都被推到了風(fēng)口浪尖。善惡有報(bào)罪惡難逃,真相即將揭曉……
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養(yǎng)鬼吃人4
Charlotte Chatton終歸為塵
安吉拉·莫利納,阿爾佛萊德·卡斯特羅,莫妮卡·阿爾米拉爾,Patrícia Bargalló,Alván Prado,Manuela Biedermann,Emma Corbacho,Pol Garibaldi Gris,Nicolás Fuentes,Vito Pietroburgo,Irene Ta,Valeria Scheilen,Aleix Plademunt,Lissy Pernthaler,Silvan Luley,Lorena Nogal,Shay Partush,Oriol Genís,M亨利·休格的神奇故事
本尼迪克特·康伯巴奇,拉爾夫·費(fèi)因斯,本·金斯利,戴夫·帕特爾,理查德·艾歐阿德怪形
庫爾特·拉塞爾,威爾福德·布利姆雷,TK·卡特,大衛(wèi)·科列儂,凱斯·大衛(wèi),理查德·戴薩特,查爾斯·哈拉漢,Peter Maloney,理查德·馬蘇爾,唐納德·莫法特,喬爾·波利斯,托馬斯沃特斯,諾伯特·魏塞爾,拉瑞·弗蘭科,納特·歐文,阿德里安娜·巴比歐,約翰·卡朋特,杰德關(guān)于我轉(zhuǎn)生變成史萊姆這檔事蒼海之淚篇
堂本光一沖破鐵幕
保羅·紐曼,朱莉·安德魯斯,麗拉·柯卓娃,漢斯約格·費(fèi)爾麥同類推薦
火鳳凰1978
姜大衛(wèi) (David Chiang),上官靈鳳 (Lingfeng Shangguan),岳華 (Hua Yueh)敘述日本人潛伏中國武館,化裝紅衣蒙面人,屢次暗殺立志北伐的愛國志士,后來被揭穿的懸疑武打故事。這片子真可以當(dāng)成偵破片來看,武館的人一個(gè)一個(gè)被殺,兇手究竟是誰...
精靈寶可夢:去往超克的時(shí)空
松本梨香,大谷育江,上田祐司,豐口惠美,小櫻悅子,林原惠美,三木真一郎,犬山犬子,西村千奈美,雪野五月,小西克幸,阪口大助,伊東美彌子,古島清孝,藤本讓,岸祐二,熊井統(tǒng)子,真堂圭,三宅健太,逢坂力,中西英樹,川上貴史,傳坂勉,寺谷美香,米澤圓,石冢運(yùn)升,秋山龍次,馬場裕之,山本博,高島政宏,中川翔子,山寺宏一,北乃綺,美輪明宏以成為神奇寶貝大師為目標(biāo),小智(松本梨香 配音)、小剛(うえだゆうじ 配音)和小光(豊口めぐみ 配音)帶著各自的神奇寶貝在世界各地進(jìn)行艱苦的修業(yè)之旅,今天他們歷經(jīng)長途跋涉終于來到了風(fēng)景秀美的米琪亞鎮(zhèn)。在當(dāng)?shù)匾粚π⌒置玫慕榻B下,小智一行前往神殿遺址游玩。誰知卻遭遇了極其危險(xiǎn)的情況。關(guān)鍵時(shí)刻,掌管時(shí)間的迪亞魯加和守衛(wèi)神殿的西娜(北乃きい 配音)、凱賓(岸祐二 配音)幫助了他們,能與神奇寶貝心靈溝通的西娜還熄滅了冥王龍的怒火。從西娜口中得知,創(chuàng)造了世界的神奇寶貝即將蘇醒,它不僅會使時(shí)空扭曲錯(cuò)亂,還將為世界帶來毀滅性的災(zāi)難…… 本片為神奇寶貝系列第十二部電影劇場版。
驚魂繡花鞋
何乙軒,劉漢兆,輝燦,周昕妤,郭亞菲,郭玉英,賈明瑛一雙繡花鞋,隱藏著一個(gè)死亡詛咒,凡是穿過繡花鞋的人都意外慘死,無一幸免。安雯(何乙軒 飾)大病未愈,擺脫了丈夫潘航(輝燦 飾)和醫(yī)生的看護(hù),獨(dú)自逃回老家古宅生活。安雯在老宅發(fā)現(xiàn)了一雙祖上流傳并受到死亡詛咒的繡花鞋,陰差陽錯(cuò)之下繡花鞋穿在了她的腳上,意外開啟了繡花鞋上的死亡詛咒。咒怨生效冤魂索命,盤桓在老宅之中的詭影無處不在,無法擺脫的惡靈如影隨形,迫使頻臨崩潰的安雯做出瘋狂的舉動,陷入一場危機(jī)四伏的驚魂逃亡……
牧群
The first feminist vegan horror film, The Herd has been rejected by some film festivals for being too horrific or political. A number of kidnapped women are kept imprisoned in a squalid medical facility condemned to a life of enforced servitude at the whims of their captors, without any hope of rescue or escape.
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.