即刻觀影
劇情賞析
編輯推薦
夏日書局
王璐“廢柴”大齡男人顧大池繼承了父親的“遺產(chǎn)”：一家破二手書店。他決定用一個(gè)夏天把書店變現(xiàn)，由此認(rèn)識(shí)了復(fù)讀女孩蔡小心，他們整理書賣書，把面包車改成“移動(dòng)書房”上路，直到發(fā)現(xiàn)了父親藏在書里的“寶藏”……很快，夏天就這么過去了。
沖動(dòng)
芭兒·帕麗,亞歷克西斯·克納普,皮爾斯·布魯斯南,阿什麗·格林尼,賈斯汀·查特文,丹尼·馬斯特森,艾莉森·洛曼,克里斯·吉爾,詹姆斯·德貝羅,尼克·圖恩,歐嘉·梅雷迪斯該片講述四位朋友共同前往一座島嶼度假，期間他們接觸一種名為“Urge”的藥物，而當(dāng)四人吸食之后，他們將逐漸走向欲望的深淵。
加美拉對(duì)大惡獸吉隆
加島信博,秋山みゆき,大村昆,笠原玲子,濱田優(yōu)子,船越英二冒険好きな二人の少年が、宇宙船に閉じ込められ第十惑星に連れ去られ、宇宙人に食べられそうになる。そこにガメラが現(xiàn)れて二人を救う。宇宙人はギロンをけしかけるが、ガメラの敵ではなかった。第3作に登場(chǎng)したギャオスが再登場(chǎng)するが、ギロンにあっさりやられてしまう。
日本的首領(lǐng)：完結(jié)篇
三船敏郎,菅原文太,大谷直子,佐分利信,片岡千惠藏 ,西村晃,山本由香利,佐藤慶,遠(yuǎn)藤太津朗,高橋悅史,二宮小夜子,渡邊文雄,仲谷升,金子信雄,小池朝雄,東惠美子,稻葉義男,小林稔侍,待田京介,真野玲,櫻町弘子,志賀勝,鈴木瑞穗,寺田農(nóng),安部徹大石剛介（三船敏郎 飾）升任關(guān)東同盟理事長(zhǎng)，與中島組佐倉(cāng)一誠(chéng)（佐分利信 飾）勢(shì)均力敵，維持著表面的和平。但日本政界要員大山喜久夫（片岡千惠藏 飾）因癌癥病倒，幾乎再次點(diǎn)燃兩派戰(zhàn)火。大山幸得一宮恭夫（高橋悅史 飾）醫(yī)治死里逃生，因此號(hào)召幫派聯(lián)合，遭到兩派抵制。 此時(shí)塞班島開發(fā)項(xiàng)目成為抗?fàn)幍膶?dǎo)火索。中島組干部川西（菅原文太 飾）為籌措資金，強(qiáng)令木村建設(shè)破產(chǎn)，并將木村之女獻(xiàn)給保守黨要員刈田（西村晃 飾）。另一方面，大石拉攏刈田的兒子春男入伙，作為特使赴塞班島向美國(guó)官員行賄。大山暗示佐倉(cāng)除去大石，一場(chǎng)攪和了黑幫、政客、外國(guó)人的紛爭(zhēng)就此展開，而佐倉(cāng)似乎也朝日本首領(lǐng)的目標(biāo)又邁進(jìn)了堅(jiān)實(shí)的一步……
儀式2024
朱麗安娜·戈德史密斯,杰瑞坎皮西,Alex Whitehouse大學(xué)二年級(jí)學(xué)生瑪麗亞有機(jī)會(huì)與已故的父親團(tuán)聚，于是她加入了路易斯領(lǐng)導(dǎo)的超自然學(xué)術(shù)小組。然而，他們的科學(xué)冒險(xiǎn)卻發(fā)現(xiàn)了一個(gè)古老的儀式，而這個(gè)團(tuán)體注定要參與其中。
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.