都巿情緣之艷舞女郎

1863起義者

火狐

　　蘇聯(lián)在1982年開發(fā)了米格31噴氣機(jī)時(shí)，全世界大為驚恐，唯一對(duì)策只有盜取這架超性能之飛機(jī)，而有能力擔(dān)任此任務(wù)的就只有越戰(zhàn)空中英雄甘德，甘德終于被說服由退休生涯中復(fù)出，接受一連串的特種訓(xùn)練后，前往俄國(guó)并與俄國(guó)特務(wù)數(shù)次交手，展開一場(chǎng)驚心動(dòng)魄的激烈空戰(zhàn)……

大怪獸空中戰(zhàn) 加美拉對(duì)混沌鳥

　　毎年夏と冬に怪獣映畫を公開する東寶との直接対決を避けて春休みに公開することになった“ガメラ“シリーズ。富士火山帯の活動(dòng)で出現(xiàn)したギャオスは、名古屋を火の海にするが、炎を好むガメラが現(xiàn)れ、陸?海?空を舞臺(tái)に死闘が展開される。

錯(cuò)誤指控

　　一次演奏會(huì)上，小提琴家瑞安（萊斯利?尼爾森 Leslie Nielsen 飾）邂逅了美艷婦人勞倫（凱麗?勒布克 Kelly LeBrock 飾），勞倫對(duì)他大拋媚眼，嚇得瑞安不知所措。聯(lián)合國(guó)秘書長(zhǎng)羅伯特將到哥倫比亞作反恐演講，勞倫的丈夫希賓負(fù)責(zé)安排一切。這天瑞安收到了勞倫的邀請(qǐng)，并注明如果他不前來她將自殺。揣揣不安的瑞安如約來到了勞倫的別墅，卻發(fā)現(xiàn)希賓早已倒地身亡。突然，一名獨(dú)眼獨(dú)臂獨(dú)腿的男人出現(xiàn)將瑞安擊暈了。　　當(dāng)瑞安醒來后，他已被警察抓了起來，荒謬的是，瑞安謀殺希賓的罪名成立了。盡管他一再分辯，但他還是被押往監(jiān)獄。途中囚車意外翻下了山崖，大難不死的瑞安開始了亡命天涯，他一方面要逃避追捕，一方面要設(shè)法找證據(jù)還自己一個(gè)清白！

雙瞳

 由于兩年前揭發(fā)同僚貪污，臺(tái)北警官黃火土（梁家輝）被上級(jí)報(bào)復(fù)調(diào)入冷門的外事組工作，利益也曾連帶受損的新同事對(duì)他怒言相向，加上妻子清芳（劉若英）受不了他長(zhǎng)期不回家要求離婚，黃火土感覺他的世界正在逐漸四分五裂。就在此時(shí)，三宗受害者的身份并無關(guān)聯(lián)的震驚了臺(tái)灣社會(huì)的離奇命案發(fā)生，法醫(yī)（楊貴媚）驗(yàn)尸發(fā)現(xiàn)他們都是因中一種神秘的黑霉菌產(chǎn)生幻覺而死，因?yàn)槿狈Υ朔矫娴娜瞬牛?dāng)局從美國(guó)請(qǐng)來此種案例的偵辦專家凱文萊特（David Morse）協(xié)助破案，黃火土重被任用。隨著一樁令所有人都目瞪口呆的事實(shí)的被發(fā)現(xiàn)，一場(chǎng)圍繞政治利益與民眾利益的斗爭(zhēng)也在黃火土和辦案伙伴李豐博（戴立忍）及整個(gè)警察隊(duì)伍之間展開。

等待方舟

　　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.