即刻觀影
劇情賞析
編輯推薦
十天
祝新運(yùn),韓非,常戎,方化,束夷,郭法曾,馬吉告,趙文忻,陳惠珍,程之,何玲,羅啟,何鐵龍,宋德望,張德元,朱旭明,劉紹昆,李文偉,王琦,趙玉亭,鄭小青,耿引,江濱,劉志剛解放戰(zhàn)爭時(shí)期，廣西。國軍師管區(qū)司令龍耀祖（馬吉告 飾）丟失機(jī)密文件遭上峰處決，并限其子龍家昌（趙文炘 飾）十日內(nèi)追回密件。偷出密件的是阿峰（祝新運(yùn) 飾）、虎仔（常戎 飾）、和蘭妹（陳惠珍 飾），地下黨農(nóng)伯（宋德 望飾）要他們把密件十日內(nèi)送到游擊區(qū)，后農(nóng)伯為掩護(hù)孩子們壯烈犧牲。三個(gè)少年闖過敵人層層設(shè)防，扒車混過敵人哨卡，下車時(shí)虎仔被敵王參謀（程之 飾）發(fā)現(xiàn)，博斗中雙方受傷。他們找到丁濟(jì)平（韓非 飾）醫(yī)生為虎仔作手術(shù)，并將找上門來的王參謀打死，三少年終于來到接頭地點(diǎn)。上級(jí)派阿妲（何玲 飾）前來接頭，不料敵人在河邊設(shè)下了埋伏......
利刃出鞘2
丹尼爾·克雷格,愛德華·諾頓,加奈兒·夢奈,凱瑟琳·哈恩,小萊斯利·奧多姆,凱特·哈德森,戴夫·巴蒂斯塔,杰西卡·亨維克,瑪?shù)铝铡た巳R因,諾阿·西甘,杰姬·霍夫曼,達(dá)拉斯·羅伯特斯,伊桑·霍克,休·格蘭特,史蒂芬·桑德海姆,安吉拉·蘭斯伯瑞,娜塔莎·雷昂,卡里姆·阿卜杜爾-賈巴爾,塞蕾娜·威廉姆斯,馬友友,約瑟夫·高登-萊維特,丹·查里頓,艾迪·戈羅杰茨基,亞當(dāng)·達(dá)文波特,詹姆斯·佩頓,杰克·塔珀科技業(yè)億萬富翁邁爾斯·布朗（愛德華·諾頓 飾）邀了幾位感情深厚的摯友到他的希臘私人小島渡假，不料卻有人命喪于此！這座世外桃源原來并不如想像中美好。命案既出，大偵探布蘭科（丹尼爾·克雷格飾）此時(shí)不出馬更待何時(shí)？且看他如何解開重重謎團(tuán)！
紅嫁衣：紙新娘
何雨宸,賀剛,邱俊龍,許諾,雷琨,張宸彬,徐喆,朱嘉鎮(zhèn)中元鬼節(jié)，陰間大門洞開！滔天鬼氣噴涌，無數(shù)怨靈哀嚎爬入人間！兇神惡煞的五猖兵馬手持染血鐵鏈，當(dāng)街撕扯活人魂魄，慘叫聲撕裂夜空！修羅城瞬間化成鬼域！陰陽師葉無雙與厲飛云臨危受命踏入死地。然而，他們遭遇的，是遠(yuǎn)超想象的極惡兇靈：紅嫁衣紙新娘！夜半三更，回魂之夜，四名慘白紙人，臉頰涂著詭異腮紅，嘴角裂至耳根，關(guān)節(jié)咔咔作響，抬一口薄皮棺材，腳不沾地，直撲國舅府。翌日，國舅僅剩一張人皮，被折成紙偶塞進(jìn)棺中。紅嫁衣所過之處，寸草不生，活物絕跡！街坊鄰里，前日猶在寒暄，一夜之間，整條街住戶盡化僵硬紙人，臉上凝固著死前極致的恐懼！孩童撿起一張飄落的紅紙錢，當(dāng)晚全家七竅流血，身體在慘叫中干癟脆裂，化作紙屑！紙新娘索命降臨，無人生還！修羅城，這座活人之城，被無法抗拒的怨氣拖向無間鬼蜮深淵………
不倫之戀
帕特里克·迪瓦爾,阿里爾·貝西,莫里斯·羅內(nèi),杰納維夫·馬尼奇,莫里斯里什,瑪莎·梅赫勒,羅絲·蒂埃里,Michel Berto,亨利-雅克·于埃,雅克·里斯帕爾,納塔莉·貝伊,妮可·加西亞,Alan Adair,莫里斯·比羅,皮埃爾·科索,伊維斯·皮尼奧,Joseph Michael Roth,Max Vialle對(duì)于音樂家雷米（帕特里克·迪瓦爾 Patrick Dewaere 飾）來說，日子變得越來越不好過，不僅僅是職業(yè)上的停滯不前，妻子一成不變的容顏和乏味的婚姻生活也讓他幾近抓狂。就在這個(gè)節(jié)骨眼上，妻子車禍身亡的消息讓雷米感到震驚卻又有一絲解脫，而妻子留下的14歲的繼女瑪麗安（阿里爾·貝西 Ariel Besse 飾）也成為了一個(gè)包袱。瑪麗安的生父想奪回瑪麗安的撫養(yǎng)權(quán)，沒想到，小小的瑪麗安卻更愿意和繼父生活在一起。同一屋檐下，這對(duì)沒有血緣關(guān)系的“父女”之間的情感變得朦朧而又曖昧。對(duì)于瑪麗安的火熱表白，雷米從最初的果斷拒絕到之后的欲拒還迎，他能否守住倫理道德的最后一條底線呢？
守護(hù)者2025
塔提阿娜·瑪斯拉尼,羅西弗·薩瑟蘭,伯克特·圖爾頓,艾琳·博伊斯,泰絲·登根斯坦,克萊爾·福萊森,克里斯汀·帕克,洛根·皮爾斯,艾拉·韋杰爾,格倫·戈登,伊芙琳·伯克,吉娜·武爾塔焦,艾琳·蒂普爾一對(duì)愛侶Liz和Malcolm去到一座偏僻的小屋度假，Malcolm卻因意外先回城了，留下Liz獨(dú)自一人，她很快發(fā)現(xiàn)這座小屋有著邪惡可怕的過去，如今纏上了自己。
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.