即刻觀影
劇情賞析
編輯推薦
切勿擅動(dòng)
唐·錢德爾,本尼西奧·德爾·托羅,馬特·達(dá)蒙,大衛(wèi)·哈伯,布蘭登·費(fèi)舍,諾亞·尤佩,茱莉婭·福克斯,基南·卡爾金,克雷格·穆姆斯·格蘭特,艾米·西米茨,弗蘭西斯·肖,喬恩·哈姆,Tina Gloss,雷·利奧塔,拜倫·鮑爾斯,比爾·杜克,Lucy Holt,Katherine Banks,Claudia Russell,Lauren Rys Martin一群犯罪分子在神秘的環(huán)境下被聚集在一起，當(dāng)他們簡單的工作完全出現(xiàn)偏差時(shí)，他們不得不一起努力去揭開到底發(fā)生了什么。
人蛇大戰(zhàn)2022
李勁峰,蘇濛濛,駱達(dá)華因?yàn)槿藶榈倪^度開采，工業(yè)廢料的隨意丟棄，導(dǎo)致美麗海島生態(tài)被破壞，變異怪物巨蛇攻擊人類。主人公陳朗靠著自己的勇氣帶領(lǐng)眾人逃生并犧牲性命保護(hù)家人。通過故事向人們發(fā)出了保護(hù)生態(tài)環(huán)境的預(yù)警，同時(shí)宣揚(yáng)了團(tuán)結(jié)、守護(hù)和愛的人性光輝。
七月寒潮
邁克爾·C·豪爾,山姆·夏普德,唐·約翰遜,凡妮莎·肖,懷亞特·拉塞爾出于自衛(wèi)，理查德射殺了侵入自己家中的陌生人。但是他不得不面對(duì)死者父親的殘忍報(bào)復(fù)。然而不久，敵對(duì)雙方就發(fā)現(xiàn)事實(shí)并不像表面展現(xiàn)的那么簡單，他們不得不聯(lián)合起來面對(duì)黑暗的真相。
未來之心
喬新峰,曹艷,張恩碩,張德暉,宮蘇紋余書(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(yáng)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(jī)械樂園；余書則攜子離開，堅(jiān)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(jī)械巨獸失控暴走。危機(jī)關(guān)頭，何叔犧牲自我換取生機(jī)，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。
巔峰獵殺
查理茲·塞隆,塔倫·埃哲頓,艾瑞克·巴納,馬特·惠倫,貝茜·霍蘭德,亞倫·佩德森,羅伯·卡爾頓,鄧肯·法洛,Julia Ohannessian,Niam Hogan,Willow Seager,扎卡里·加雷德,凱特琳·斯塔西為了考驗(yàn)自己的極限，莎夏（查理茲·塞隆 飾）深入偏僻無情的澳洲荒野，卻發(fā)覺自己不只必須在嚴(yán)苛環(huán)境中奮勇求生，還得對(duì)抗一名殘忍又危險(xiǎn)的惡徒（塔倫·埃哲頓 飾）。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),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(yáng)·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.