在線播放
劇情簡介
未央生換上巨靈根陽具，并練成霸皇御女奇功，便找京城第一y-娃復(fù)仇。y-娃于青樓設(shè)下七天七夜的天下無雙欲仙欲死的極樂生死陣，但也被未央生一一破解，y-娃更對未央生佩服不矣，愿追隨未央生為奴為婢，只求一夕之雨露。 未央生名動京城，慕名者眾，賽昆侖發(fā)覺這是一條財路，利用未央生的性技四處招搖，謀取暴利，大發(fā)橫財。京城中的巨富黃金發(fā)的九姨太和未央生搞上，更瘋狂地戀上未央生。發(fā)爺乃窮兇極惡之人，得悉此事，誓殺未央生。
導(dǎo)演精選
羅伯特玩偶的復(fù)仇
在納粹德國，玩具制造商擁有一本神秘的書籍，賦予無生命的生命。在躲過希特勒命令取回書的黨衛(wèi)軍之后，這位玩具商登上了一列火車企圖逃離該國。認為他很清楚，玩具制造商很快就發(fā)現(xiàn)，一批高級納粹軍官也加入進來。最終，他的秘密被揭露出來，納粹關(guān)閉。但是，玩具制造商已經(jīng)使用這個神奇的東西來帶來一個名叫羅伯特的復(fù)古娃娃來生活 - 而羅伯特將毫無阻礙地保護他的主人。所以，當玩具制造商和殺手娃娃拿起納粹時，就開始了一場血腥的戰(zhàn)斗。這是對死亡的一場戰(zhàn)斗，只有勝利者才會在下一站下車。
未來之心
余書(喬新峰飾演)與梁瀾(曹燕飾演)夫婦研發(fā)了革命性AI“超心智腦”，旨在復(fù)原古生物生態(tài)。因兒子(張恩碩飾演)重病急需資金，二人分道揚鑣：梁瀾與投資人何叔(張德暉飾演)合作，將AI用于建造賽博機械樂園；余書則攜子離開，堅信技術(shù)不應(yīng)淪為娛樂工具。多年后為救子，余書登島交出原始代碼。不料程序遭竊，機械巨獸失控暴走。危機關(guān)頭，何叔犧牲自我換取生機，余書夫婦最終聯(lián)手重啟初代代碼，關(guān)閉系統(tǒng)，阻止災(zāi)難。離島后，他們發(fā)現(xiàn)何叔留下的代碼備份與醫(yī)療資源。兒子康復(fù)后，將這段經(jīng)歷寫成小說《未來之心》，見證科技、人性與愛的交織。
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.