窒色
為了給母親艾達(dá)(安杰麗卡休斯頓 Anjelica Huston 飾)治病,維克托(山姆洛克威爾 Sam Rockwell 飾)想出了一個(gè)損招,在高級(jí)餐廳里,他做出被食物噎住的假象,以此賺取他人的同情??杉幢闶沁@樣,維克托依然無(wú)法負(fù)擔(dān)母親高額的治療費(fèi)用,此時(shí),一個(gè)名叫佩吉(凱莉麥克唐納 Kelly Macdonald 飾)女人找到了他。 佩吉自稱是負(fù)責(zé)照顧艾達(dá)的護(hù)士,她告訴維克托,有一種新興的治療方式可以治愈艾達(dá)的病痛,可這種療法需要維克托提供含有他基因的新生兒臍帶血,讓維克托震驚的是,佩吉竟然提出愿意為此而懷上維克托的孩子。沒想到,維克托的無(wú)法勃起讓這個(gè)看似天衣無(wú)縫的計(jì)劃遭遇了失敗,與此同時(shí),艾達(dá)和佩吉各自隱藏的秘密也逐漸的浮出了水面。
即刻觀影
劇情賞析
編輯推薦
暴風(fēng)雨之星
Vladimir Yemelyanov,Georgi Zhzhyonov,Gennadi VernovUpon arrival to Venus, cosmonauts find furious volcanoes and sundry prehistoric beasts in Klushantev's film, based on a novel by the Soviet sci-fi writer Aleksandr Kazantsev. Footage has been recycled in three Corman productions: Voyage to the Prehistoric Planet, Queen of Blood, and Voyage to the Planet of Prehistoric Women (the directorial debut of Peter Bogdanovich). 83min
悄然之星
神樂(lè)坂惠,遠(yuǎn)藤賢司,池田優(yōu)斗,森康子無(wú)數(shù)次的災(zāi)難與戰(zhàn)爭(zhēng),讓人類的數(shù)量銳減,似乎也因此使得宇宙變得更加寧?kù)o。而今人工智能機(jī)器人已在宇宙間占有絕對(duì)的統(tǒng)治地位,人類卻只有兩成左右。雖然科學(xué)極大進(jìn)步,可惜人類無(wú)法突破壽命的百年限定,他們匆匆而來(lái),默默而終,不知不覺走向滅亡?! в袧庵卣押蜌庀⒌挠钪骘w船中,生活著編號(hào)為722的人形機(jī)器人鈴木洋子(神樂(lè)坂惠 飾)。她與AI機(jī)器人相伴,永遠(yuǎn)奔波在漫長(zhǎng)的宇宙旅途中。她的日常百無(wú)聊賴,洗衣服、縫扣子、剪指甲、打掃衛(wèi)生,孤獨(dú)與靜寂永無(wú)止境。洋子是一名宇宙快遞員,她所投遞的貨物卻都是些看似無(wú)關(guān)緊要的小物件。每次投遞需要花費(fèi)數(shù)年時(shí)間,縱使瞬間旅行已成可能,不過(guò)她卻似乎有什么理由消磨這漫長(zhǎng)的時(shí)光。一顆孤獨(dú)的星球上,仿佛被全宇宙所遺忘的人類,在破敗的街道上等待著遠(yuǎn)方的造訪……
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.
詭秘陰宅
茱莉亞·克斯奇茲,Marii Weichsler,邁克爾·品克,Leon Orlandianyi,Inge Maux,Finn Reiter,Benno Rosskopf,Lars Bitterlich,Lisa Stern,Christina Cervenka一對(duì)年幼的兄弟跟家人一起從大城市搬到偏遠(yuǎn)小鎮(zhèn),卻發(fā)現(xiàn)新家并不單純。他們能否與新朋友們一起解開家中的險(xiǎn)惡謎團(tuán)?
無(wú)限:未知對(duì)象
托莉·巴特勒-哈特,伊恩·麥克萊恩,康勒斯·希爾,格雷厄姆·巴特勒,Ben Lee,Holly Dale Spencer,Chris Hart,Wendy Muir HartJane is trapped in an unknown world with endless possibilities. She has to discover a way to access them and alter her reality before she is destined to repeat the same test over and over again, Ad Infinitum.
天啟四騎士
丹尼斯·奎德,章子怡,盧·泰勒·普奇,小克利夫頓·克林斯蘭斯林(丹尼斯·奎德 Dennis Quaid 飾)警官同時(shí)也是一個(gè)單身父親,因公務(wù)繁忙,他無(wú)暇照顧兩個(gè)兒子,大兒子亞歷克斯無(wú)形中時(shí)常扮演父親的角色。最近蘭斯林被一樁連續(xù)殺人案纏住,每個(gè)兇案現(xiàn)場(chǎng)都發(fā)現(xiàn)了至少四名嫌疑人的蹤跡,并且統(tǒng)一留下了“過(guò)來(lái)看”的血色留言,死者死于懸掛的狀態(tài)充滿了宗教意味,蘭斯林從人體懸掛的鐵架入手,發(fā)現(xiàn)這一干罪犯以殺人作為宗教儀式,并且以啟示錄中記載的“天啟四騎士”自居。第一個(gè)受害者的華裔養(yǎng)女克里斯?。ㄕ伦逾?飾)主動(dòng)找到蘭斯林,坦承了自己與連續(xù)殺人案的關(guān)系,但是這不能阻止更多人受害,蘭斯林驚見自己最不愿意看到的事情發(fā)生了……