娼年

紅衣詭村之幻·謎

　　鄭家村，突然發(fā)生了一系列似怪異的事件。 眾人來(lái)到鄭家老宅，鄭浩民在了解情況后，特邀請(qǐng)?jiān)?jīng)的同事，考古學(xué)教授張信安前來(lái)一同進(jìn)行科學(xué)調(diào)查。 張信安等人來(lái)到鄭家村與鄭浩民等開(kāi)展了一系列的調(diào)查工作。 張信安在觀察了鄭家老宅后，從科學(xué)依據(jù)做出判斷，鄭家老宅四面環(huán)山傍水，陰濕氣重，在地理上形同一個(gè)低洼混區(qū)，導(dǎo)致磁場(chǎng)混亂，各種正常人感知不到的微弱電波無(wú)法散發(fā)。 就在調(diào)查即將接近真相的時(shí)候，兩位教授遭受莫名攻擊，陷入可怕幻覺(jué)，導(dǎo)致兩人當(dāng)場(chǎng)昏迷。 事態(tài)進(jìn)一步惡化，破開(kāi)迷霧的重任壓在了韓斌和張紫涵這一對(duì)年輕戀人身上。 韓斌在經(jīng)過(guò)一系列的詭異后終于找出緣由。

自殺森林

　　生活在美國(guó)的莎拉·普斯（娜塔莉·多默爾 Natalie Dormer 飾）近日來(lái)心神不寧，她有一個(gè)孿生妹妹杰西（娜塔莉?多默爾 Natalie Dormer 飾）在日本擔(dān)任外教。然而杰西突然下落不明，莎拉拜托山梨縣警方幫助搜查，最終得到的結(jié)果是杰西可能進(jìn)入了擁有“自殺勝地”之稱的青木原森林自我了斷。莎拉絕不認(rèn)同警方的推測(cè)，她不顧男朋友的阻攔，獨(dú)自踏上前往日本的旅途。她最先來(lái)到了妹妹任教的學(xué)校，在調(diào)查未果之后乘上了前往青木原森林的列車(chē)。他人的勸阻無(wú)法攔住莎拉的腳步，她朝向森林深處走去?！　≡谶@一過(guò)程中，恐怖詭異的經(jīng)歷交替襲來(lái)……

尸骨袋2

　　《尸骨袋》改編自斯蒂芬·金（Stephen King）的同名恐怖小說(shuō)?！　充N(xiāo)小說(shuō)作家Mike Noonan（皮爾斯·布魯斯南 Pierce Brosnan 飾），在妻子Jo(安娜貝絲·吉什 Annabeth Gish 飾)死后，無(wú)法走出悲痛的深淵。他不斷地夢(mèng)到和Jo一 起購(gòu)買(mǎi)的緬因州湖畔別墅，夢(mèng)到裝在袋子里的腐爛尸骨，夢(mèng)見(jiàn)Jo也從裹尸袋中奔跑而出。終于他在Jo的召喚下回到了那棟詭異的別墅。在那里，他卷入了一樁年輕美貌寡婦與家財(cái)萬(wàn)貫的祖父對(duì)小女孩的撫養(yǎng)權(quán)爭(zhēng)奪戰(zhàn)，并不時(shí)遭遇神秘鬼魂的騷擾。那些不斷升級(jí)的噩夢(mèng)，還有神秘鬼魂的騷擾，都讓他意識(shí)到，這個(gè)小鎮(zhèn)隱藏著一些秘密，而死去的Jo也有事情想要告訴他……

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.

刺透

急轉(zhuǎn)直下

　　莫琳·達(dá)巴格是一位母親，當(dāng)她的前夫綁架了他們的小女兒阿米娜并消失在中東時(shí)，她的世界崩潰了。絕望而無(wú)情的莫琳與羅伯森合作，羅伯森是一名經(jīng)驗(yàn)豐富的前海軍陸戰(zhàn)隊(duì)員，也是兒童綁架案件的專家。這部電影以貝魯特動(dòng)蕩的背景為背景，講述了莫琳和羅伯遜陷入一個(gè)充滿國(guó)際間諜、腐敗和背叛的陰暗世界。隨著時(shí)間的流逝，風(fēng)險(xiǎn)高得不可思議，莫琳必須在與時(shí)間的賽跑中面對(duì)不可能的選擇。本片是一段緊張而感性的旅程，探索了一位母親為拯救孩子所做的努力，即使她在每個(gè)轉(zhuǎn)折點(diǎn)都面臨著隱藏的危險(xiǎn)。

女孩2025

1988年，基隆港煙塵蔽日，林小麗（白小櫻 飾）在迷惘中長(zhǎng)大，渴望逃離黑暗。 直到遇見(jiàn)無(wú)懼眼光、自在生活的李莉莉（林品彤 飾），她才第一次看見(jiàn)世界的色彩。 然而，這份向往卻觸動(dòng)了母親（湯毓綺 飾）的過(guò)往創(chuàng)傷。 當(dāng)年，她也曾憧憬未來(lái)，卻被現(xiàn)實(shí)困住。 女孩與女人，在交錯(cuò)的命運(yùn)中互相映照，像一面鏡子照出彼此的傷卻無(wú)能為力。