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異形怪胎
布魯克·亞當(dāng)斯,詹姆斯·凱倫,麗莎·庫卓,凱西·格里芬,Jeff Hayenga血灑胭脂馬
羅伯特·蒙哥馬利,旺達·亨德里克斯嘔吐戈爾2:祭祀
監(jiān)控錄像
Akaranitimetharat大奧普里圣誕夜
莎朗·勞倫斯,克里斯托弗·普拉哈,妮基·迪洛許,詹姆斯·丹頓,盧克·本沃德,羅勃·梅耶斯,布拉德·派斯里,比爾·安德森,帕姆·蒂利斯,Megan Moroney,米奇·蓋頓壞媽媽
米拉·庫尼斯,凱瑟琳·哈恩,克里斯汀·貝爾,克里斯蒂娜·艾伯蓋特,賈達·萍克·史密斯,安妮·瑪莫羅,烏娜·勞倫斯,恩杰伊·安東尼,大衛(wèi)·瓦爾頓,克拉克·杜克,杰伊·埃爾南德斯,維德爾·皮爾斯,莉亞·麥肯德里克,梅根·弗格森,萊爾·布羅卡托,旺達·塞克絲,凱德·曼斯菲爾德·庫克西,J·J·瓦特,安·馬奧尼,薩曼莎·博利厄,唐娜·杜普蘭提爾,克莉絲緹娜·德蘿莎,揚·費爾德曼,杰倫·摩爾同類推薦
惡魔的藝術(shù)
阿麗莎·維爾斯,蘇帕克森·柴蒙蔻,特林·賽塔歐克,克朗通·拉查塔萬,頌猜·沙圖吞,埃薩拉·奧查庫,尼魯·素查,克里塔尤德·蒂姆納特,鮑勃·布克霍爾茲,雪莉·嘉森,桑迪·福克斯,艾爾維亞·蓋坦,格蘭特·喬治,尤里·洛文塔爾,戴夫·麥羅,蘇珊·馬奎,布萊斯·峇本布魯克,塔拉·普拉特,薩姆·里格爾,克莉絲汀·盧瑟福,菲利斯·桑普勒,斯蒂芬妮·社,史蒂夫·斯塔利,道格·斯通,丹·沃倫影片圍繞著一個家庭遭到情婦利用"黑色巫術(shù)"復(fù)仇的故事展開.講述了一個百萬富翁全家人被神秘而詭異的地殺害。沒有絲毫線索; 無法找到可以指證的兇手。神秘而恐怖的死亡令所有人為之困惑。一位罪案報道記者參與進此案的調(diào)查, 發(fā)現(xiàn)一個美貌的女人有可疑。他該如何向所有人證明她就是那個一直隱藏著的、并且擅長"魔鬼的藝術(shù)"的情婦? ...
食人豬
嚴(yán)泰雄,鄭有美,張恒善,尹宰文位于韓國某山區(qū)的智翼村,是一座號稱零犯罪村的旅游勝地。每到假期或周末,全國各地的游客云集于此,享受難得的快樂生活。為了吸引更多的游客,智翼村相繼開發(fā)了高爾夫球場合周末農(nóng)場,為此砍伐了大量的原始叢林。野生動物的生存環(huán)境遭到破壞,加上偷獵者的侵?jǐn)_,野豬數(shù)量急劇減少。為了生存,野豬開始挖掘人類的墳?zāi)?,啃噬尸體,由此對人肉產(chǎn)生了濃厚的興趣?! ∧程?,村中一名獵人孫女的尸體被人發(fā)現(xiàn),她的尸體破碎不堪,只留下頭顱。經(jīng)法醫(yī)鑒定和老獵人的觀察,這起慘案系一頭是人野豬所為。在此之后,武裝精良的獵人們來到智翼村,人獸的戰(zhàn)爭漸次白熱化……
愛定你殺定你
塞西爾·德·弗朗斯,麥溫,菲利普·納翁,弗蘭克·卡方,安德烈·芬蒂,瓦娜·佩利亞,Marco Claudiu Pascu,Jean-Claude de Goros,Bogdan Uritescu,加布里埃爾·斯巴修青春少女瑪麗(Cécile De France 飾)和愛莉西婭(Ma?wenn Le Besco 飾)是同在法國巴黎一所大學(xué)就讀的好朋友。某個周末,兩人驅(qū)車前往愛莉西婭家位于鄉(xiāng)下的農(nóng)場度假。適值深夜,萬籟俱寂,瑪麗寂寞難耐正在自我宣泄之時,一個不速之客突然闖入。他殘忍殺害了愛莉西婭的父母和年幼的弟弟,并將其擄去。為了營救好友,瑪麗悄悄鉆進兇手的卡車。途經(jīng)一個加油站,她換上同樣慘遭殺害的店員的車?yán)^續(xù)跟蹤,卻被狡猾的兇手發(fā)現(xiàn)行跡。一場近乎迷幻的貓鼠殺戮游戲旋即進入高潮…… 本片榮獲2003年Sitges – Catalonian國際電影節(jié)最佳女主角(Cécile De France)、最佳導(dǎo)演、最佳化裝和歐洲奇幻電影大獎銀獎。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,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.
大怪獸加美拉
船越英二,北原義郎,浜村淳,大山健二,吉田義夫,左卜全,村田扶實子,大葉健二大映が初めて手掛けた、1965年制作の本格怪獣映畫『ガメラ』シリーズ第1作。監(jiān)督は、湯淺憲明。北極海上で原爆を積んだ國籍不明機が米軍機によって撃墜され、氷山に墜落した。このため、積んでいた原爆は爆発、氷山に閉じ込められていたエスキモーの伝説の怪獣ガメラが蘇った。巨大な亀怪獣ガメラはその後姿を消し、入れ替わるかのように世界中で謎の空飛ぶ円盤が目撃される。人々の関心が空飛ぶ円盤に移り、ガメラのことが忘れられた頃、再びガメラが北海道にその姿を現(xiàn)した。自衛(wèi)隊の作戦で仰向けにひっくり返されたガメラ。起き上がることの出來ないガメラに、人々は勝利を確信するが???。