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劇情簡(jiǎn)介
一個(gè)女脫衣舞者和一個(gè)男妓相互承諾,他們的工作不能使他們分開。但當(dāng)欲望和誘惑出現(xiàn)時(shí),他們開始質(zhì)疑自己的誓言。
同類好片
抵擋計(jì)劃
Donald Cerrone,凱利·林恩·萊特,Vincent E. McDaniel,布蘭迪·羅德里克,Chris Maher另一個(gè)地球
威廉·麥鮑瑟,布里特·馬靈,馬修-李·埃爾巴赫,DJ Flava,Meggan Lennon,AJ Diana,Bruce Colbert,Paul Mezey,Ana Valle,Jeffrey Goldenberg,Joseph A. Bove,Jordan Baker,Flint Beverage,Robin Taylor,魯伯特·雷德古劍奇譚之焚寂天劫
白澍,梁婧嫻,姜震昊,黃羿,王景灝異羽之鳥
賈亞士里,Mahadev Hadapad,Rekha Kudligi不良教育
妲露拉·萊莉,喬安娜·斯坎倫,克拉克·彼得斯,杰克·懷特霍爾,馬修·豪勒,史蒂夫·斯皮爾斯,莎拉·索蕾瑪尼,哈里·恩菲爾德,托尼·毛德斯雷,萊頓·威廉姆斯,史蒂夫·奧拉姆,馬克·伍頓,查理·沃納姆,妮琪·羅南克萊斯鬼迷藏
Nada Chareontong,Wuttiphat Kijchakan,Long Shi Lee人氣佳作
沖繩小芙蓉
蔵下穂波,余貴美子,照屋政雄,平良富,NESMITH,亀島奈津樹,和田聡宏,登川誠(chéng)仁協(xié)議
貝倫·魯埃達(dá),米蕾婭·奧利奧,達(dá)里奧·格蘭迪內(nèi)蒂,安東尼奧·杜蘭·莫里斯,喬斯因·本格特伊,卡魯斯·法布雷加,瓦內(nèi)薩·布查卡,塞巴斯蒂安·蒙特奇諾我是自愿讓他殺了我
蔡淑臻,鄭人碩,薛仕凌,余晉,尹昭德,趙逸嵐,阮柏皓,蔡承邑錯(cuò)誤指控
萊斯利·尼爾森,理查德·克里納,凱莉·勒布洛克,美琳達(dá)·麥格勞,麥克爾·約克,桑德拉·伯恩哈德,艾倫·坡爾,本杰明·拉特納,杰拉德·普倫科特,鄧肯·弗雷澤,John Walsh,Chick Hearn,瑪麗·布萊克,阿萊克斯·迪亞坤,阿德里安·多瓦爾,埃莉·哈維,Charles Payne,帕特·普羅夫特,薇娜·蘇德,比爾·塔爾林,Shari Lewis導(dǎo)演精選
林肯大戰(zhàn)僵尸
19世紀(jì),經(jīng)歷了影響深遠(yuǎn)的南北戰(zhàn)爭(zhēng),美國(guó)終于迎來了新的時(shí)代。亞伯拉罕·林肯(比爾·奧伯斯特 Bill Oberst, JR 飾)接連取得與人類的勝利,卻不得不面對(duì)新的敵人。他麾下一直部隊(duì)在巡察途中遭遇活死人,三十人僅有一人幸存,但由于驚嚇過度精神失常。北方政府懷疑這是南方的最新武器,于是計(jì)劃派出一支12人的小分隊(duì)深入敵后,救出被困的人員。勇猛無敵的林肯見識(shí)了活死人的威力,自告奮勇帶部隊(duì)向南方進(jìn)發(fā)。在目標(biāo)要塞,他們?cè)庥隽藬?shù)量龐大的活死人軍團(tuán),這群怪物的殘忍更遠(yuǎn)遠(yuǎn)超出他們的想象?! ∷劳鼍仍寐L(zhǎng)難熬,偉大的林肯總統(tǒng)能否帶著他的子民逃出生天……
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.
弗蘭肯斯坦的詛咒
《科學(xué)怪人的詛咒》(The Curse of Frankenstein),又譯作《神秘怪尸》,是1957年英國(guó)的一部恐怖片,由咸馬公司出品。本片基于瑪麗·雪萊的同名小說《科學(xué)怪人》。本片也是咸馬公司的首部彩色電影,影片出品后得到成功并制作了多部續(xù)篇,并建立了有哥特意味的品牌形象。