海風(fēng)：花心的女人

　　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.

 哈利（ Art Carney 飾）是個(gè)退休教師，終其一生都在為妻女奮斗，住在紐約上西區(qū)的他，一直沒有為自己追求什么，當(dāng)政府為了興建停車場(chǎng)而決定拆除哈利的房子，他打包行李帶著他最忠心的好友 Tonto 一同展開了一場(chǎng)跨越美國(guó)的旅程，他沿途拜訪子女與多年好友，也因此結(jié)識(shí)了許多新朋友...本片由 Paul Mazursky 執(zhí)導(dǎo)，獲得1974年奧斯卡最佳男主角與金球獎(jiǎng)喜劇音樂類影片最佳男主角。

　　在那場(chǎng)悲劇發(fā)生25年后，一個(gè)年輕的少年發(fā)現(xiàn)了屬于他祖父的神秘盒子……

　　紐約，一名女童在登上一輛汽車后遇害身亡，女警梅根（艾麗莎·杜什庫(kù) Eliza Dushku 飾）調(diào)查此案，她敏銳的意識(shí)到被害女童的姓與名以及案發(fā)地三者的首字母相同，但除此之外毫無線索，梅根為查案用盡辦法，然而卻一無所獲，反而梅根本人的精神壓力日漸累積，她開始看到被害女童的幻影，終于精力不支甚至選擇自殺，最后不得不接受精神治療。兩年后，再次有符合首字母規(guī)律的女童被害案件發(fā)生，此時(shí)的梅根不顧上司反對(duì)，再次介入調(diào)查，她和搭檔在排查多位嫌疑人的同時(shí)，這位針對(duì)女童的“首字母殺手”作案愈發(fā)頻繁。梅根究竟能否拼貼出兇手的真相？　　本片根據(jù)真實(shí)案件改編。