撲克之王：航空公司

7.3 播放：21萬(wàn) 更新：2026-04-24
主演：未知

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曼谷保鏢2

Petchtai Wongkamlao,Tony Jaa

　　⊙《曼谷保鏢2》的故事：　　影片故事講述拔泰王錦魯飾演的東南亞某小國(guó)特工翁坤，為了調(diào)查一伙恐怖份子，秘密潛入泰國(guó)曼谷執(zhí)行任務(wù)，并化裝成為流行歌星，混入唱片公司追查。他老婆并不知道他的真實(shí)身份，因?yàn)槲汤な莻€(gè)十足的“妻管?chē)?yán)”，但要命的是，他在泰國(guó)無(wú)可救藥愛(ài)上了一個(gè)漂亮美眉……與此同時(shí)，恐怖份子也要發(fā)動(dòng)大規(guī)模襲擊了，翁坤如何能制止這場(chǎng)破壞？　　⊙《曼谷保鏢2》的看點(diǎn)：　　繼2005年大賣(mài)座的第一集之后，《曼谷保鏢》于今年拍出了續(xù)集，有“泰國(guó)周星馳”之稱(chēng)泰國(guó)喜劇明星拔泰王錦魯繼續(xù)自編自導(dǎo)自演，繼續(xù)請(qǐng)來(lái)《拳霸》東尼·嘉參與演出。影片向周星馳、成龍電影偷了師，并且自己惡搞了《拳霸》《冬蔭功》等片，拔泰王錦魯（《拳霸》另一主演）演出非常出彩過(guò)癮。Tony Jaa則之是客串身份，在片中有一場(chǎng)打斗，另外自己還拿《冬蔭功》開(kāi)涮，十分的“搞”。

鐵甲無(wú)敵瑪利亞

梁朝偉,葉倩文,徐克,林正英,岑建勛,陳國(guó)新,林國(guó)斌,秦沛

　　太陽(yáng)黨是一個(gè)恐怖組織，其首領(lǐng)救世主（林國(guó)斌 飾）善于開(kāi)發(fā)戰(zhàn)爭(zhēng)機(jī)器人，他和女友瑪利亞（葉倩文 飾）經(jīng)常利用自己開(kāi)發(fā)的機(jī)器人“先鋒一號(hào)”大肆破壞。由于“先鋒一號(hào)”威力強(qiáng)大，警方也常常束手無(wú)策。小徐原是英雄黨的一分子，后來(lái)對(duì)自己團(tuán)伙的所作所為深感不滿(mǎn)而在師傅的擔(dān)保下脫離了該組織。一次小徐在酒吧偶遇了專(zhuān)為警方開(kāi)發(fā)戰(zhàn)爭(zhēng)機(jī)器人的專(zhuān)家阿毛（岑建勛 飾），兩人一見(jiàn)如故，成為了好朋友。豈料太陽(yáng)黨因此懷疑小徐出賣(mài)了自己，因此派出新研制的機(jī)器人——外形和瑪利亞一模一樣的“先鋒二號(hào)”追殺小徐；更糟糕的是，警方亦因此懷疑阿毛出賣(mài)了政府，因而同時(shí)派人前來(lái)捉捕他們。一對(duì)好兄弟，能否逃出生天？

莫·吉里根：活在當(dāng)下

莫·吉里根

Follows British comedian Mo Gilligan as he dishes on fame, family and being British in America.

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.

孤兒2025

Bojtorján Barabas,Andrea Waskovics,格萊高利·嘉德波瓦,馬爾桑·恰尼克

1956年匈牙利革命后，一個(gè)男孩從小被母親灌輸了關(guān)于已故父親的理想化故事，卻突然遇到一個(gè)粗野的男人，對(duì)方聲稱(chēng)自己是他的親生父親。