即刻觀影
劇情賞析
編輯推薦
后來的我們韓版
具教煥,文佳煐,姜末琴在開往家鄉(xiāng)的客運上，恩浩（具教煥 飾）遇見了休學(xué)后下定決心要前往某處的正媛（文佳煐 飾），產(chǎn)生了一段不可思議的緣分。為彼此的夢想加油的兩人，不知不覺地深入對方的生活，成為了一對戀人。一同歡笑、爭吵、和解的兩人，雖然擁有了世上最熾熱的愛，但面對殘酷的現(xiàn)實，兩人最后仍選擇分道揚鑣。就這樣過了10年，再次遇見彼此的瞬間，恩浩問了正媛一直很想問的問題“如果我們……” 影片改編自2018年劉若英執(zhí)導(dǎo)的《后來的我們》。
三國的星空第一部
檀健次,路金波,旺旺,任俊鵬,楊衛(wèi),良生,方浩然,沉寂,囧森瑟夫,一舟,肖合來提·艾尼,巽辰,易中天,李瀟宇,蔣鉦圣,陳一伊,何梓騫東漢末年，天下大亂。曹操討董卓、迎天子、戰(zhàn)官渡，成為一代英豪，與袁紹和劉協(xié)等人一起用選擇和行動回答了“我從哪里來？我的使命是什么？我是天上哪顆星？”
致命錄像帶94
安娜·霍普金斯,Sean Patrick Dolan,德魯·維爾戈維爾,達克斯·拉維納1994年，一隊野蠻的緝毒警察來到一處倉庫，并在其中發(fā)現(xiàn)大量邪教信徒和散播的錄像：①霍莉和攝影師去下水道探尋神秘生物，卻在這遇上此生難忘的恐怖經(jīng)歷。②守靈教堂內(nèi)，守夜人平靜守夜，但風(fēng)暴來臨后會發(fā)生什么？③印尼科學(xué)家妄圖創(chuàng)造人機合一的神話，卻不料一隊特警早以虎視眈眈 ④一隊反社會份子盯上國會大廈打算引爆大廈，卻不料他們的計劃將會迎來怎樣的變數(shù)？鏡頭之外，死亡的魔爪正緩緩伸向小隊成員…
風(fēng)林火山
金城武,劉青云,梁家輝,古天樂,高圓圓,杜德偉,鮑起靜,林俊賢,盧冠廷,姜珮瑤,衛(wèi)詩雅,甘國亮,盧海鵬,劉永,吳嘉龍,李元霸,任賢齊,夏韶聲,王德順,程東,狼森,尼克·福特港島雪夜，街頭無差別掃射，血流成河；醫(yī)院爆炸火光沖天，慘叫此起彼伏?！ ∵@不是末日，是毒品操控下的城市煉獄?！ 《矩溡远酒氛瓶爻鞘忻}，殺手為爭奪貨源血洗街頭，警方在陰謀中艱難前行——當三方勢力陷入混戰(zhàn)，最令人窒息的逆轉(zhuǎn)突然降臨：操縱一切的毒販，竟開始全面禁毒？雪夜之下，誰是幕后推手？誰能從這場罪惡風(fēng)暴中全身而退？
新萬圣節(jié)2
雪莉·穆恩·贊比,Chase Wright Vanek,絲柯·泰勒-考普頓,布拉德·道里夫,卡羅琳·威廉姆斯,馬爾科姆·麥克道威爾故事發(fā)生在位于伊利諾斯州的哈登菲爾德小鎮(zhèn)。臭名昭著的殺人狂邁克爾（泰勒·梅恩 Tyler Mane 飾）終于倒在了少女勞利（絲柯·泰勒-考普頓 Scout Taylor-Compton 飾）的槍下，然而之后他的尸體卻神秘的消失了，與此同時，在醫(yī)院里，出現(xiàn)了一個身份詭異而又神秘的病人，又一場血腥的殺戮即將拉開序幕?！ ⌒疫\的勞利再一次的從邁克爾的屠刀下死里逃生，可是，巨大的陰影始終籠罩在她的周圍，因為她知道，邁克爾一天不死，就總會再度回到她的身邊。一晃眼一年過去，萬圣節(jié)又要來了，與此同時將要舉辦的，是死難者的紀念會。勞利能夠感覺到，一雙熟悉的眼睛正在默默的注視著她。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾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.