戴眼鏡的女王叫來(lái)舔狗給她舔腳超好玩

無(wú)主之人

　　伊利亞·伍德將主演犯罪題材驚悚片[無(wú)主之人](No Man Of God，暫譯)。Amber Sealey執(zhí)導(dǎo)，C·羅伯特·嘉吉([險(xiǎn)惡])操刀劇本。影片設(shè)定在一個(gè)單獨(dú)的審訊室中，故事根據(jù)FBI心理分析師比爾·哈格邁爾(伍德飾)與連環(huán)殺手邦迪于1984年至1989年之間的對(duì)話文字摘錄改編，影片將詳細(xì)介紹邦迪在死囚牢房最后幾年間，兩人之間復(fù)雜的關(guān)系。

大浪淘沙1978

 大革命時(shí)期，知識(shí)青年靳恭綬（于洋 飾）、顧達(dá)明（簡(jiǎn)瑞超 飾）、楊如寬（杜熊文 飾）、余宏奎（劉冠雄 飾）因?yàn)楦髯圆煌脑螂x鄉(xiāng)相遇，在濟(jì)南結(jié)為拜把兄弟。不久，由于出身信仰的不同，各自走上了不同的道路，期間他們還結(jié)識(shí)了謝輝（王蓓 飾）和劉芬（吳慧明 飾）兩位女學(xué)生。北伐的勝利召喚他們來(lái)到武昌，靳恭綬等人考入中央軍校，師從共產(chǎn)黨員趙錦章（史進(jìn) 飾），余宏奎則投奔了國(guó)民黨參謀薛建白（林嵐 飾）。四一二反革命政變后，國(guó)共分裂，蔣介石大肆捕殺共產(chǎn)黨人，“馬日事變”暴發(fā)后，已經(jīng)加入共產(chǎn)黨的靳恭綬和顧達(dá)明闖入敵營(yíng)救出身受重傷的趙老師，并遵從趙的遺訓(xùn)回武漢找黨，而余宏奎則在大革命的風(fēng)囗浪尖上徹底投降了敵人......

金發(fā)

本作の主人公は、大人になりきれない30歳の公立中學(xué)校教師?市川。彼が擔(dān)任を受け持つクラスの生徒數(shù)十人が校則への抗議として髪を金色に染めて登校し、學(xué)校中が大騒ぎになるさまが描かれる。

月球叛軍2：烙印之人

　　延續(xù)第一部的史詩(shī)故事，柯拉（索菲亞·波多拉 Sofia Boutella 飾）與幸存的戰(zhàn)士準(zhǔn)備好豁出一切，與勇敢的碧草星居民并肩作戰(zhàn)，即使村落不復(fù)往日和平，仍是對(duì)抗母星失敗的人們尋得的新家園，這一切，就靠他們來(lái)守護(hù)。最終大戰(zhàn)前夕，這群戰(zhàn)士必須面對(duì)各自的過(guò)往，也揭露他們究竟為何而戰(zhàn)。當(dāng)叛軍勢(shì)力星火燎原，王國(guó)大軍傾巢而出準(zhǔn)備平息動(dòng)亂，戰(zhàn)友情誼益發(fā)堅(jiān)定，英雄嶄露頭角，不朽傳奇也于焉誕生。

瑪?shù)铝盏默數(shù)铝?/h3>海倫娜·霍華德,米蘭達(dá)·裘麗,莫莉·帕克,奧奎·奧克波克瓦西里,蘇妮特·瑪尼,費(fèi)利佩·博尼拉,麗莎·薩爾斯,寇蒂斯·庫(kù)克,雷納爾多·皮涅拉,邁拉·盧克利希亞·泰勒,茱莉·塞爾達(dá),達(dá)娜·埃斯科爾森,蘇澤特·古恩,邁克·霍奇,亞歷山德拉·塔塔爾斯基

　　《瑪?shù)铝盏默數(shù)铝铡肥敲绹?guó)女導(dǎo)演約瑟芬·戴克最新的一部作品。這部電影講述了一個(gè)戲劇導(dǎo)演，在創(chuàng)作她最近的作品時(shí)所產(chǎn)生的故事。這也是約瑟芬·戴克的第14部作品。作品中的角色和她本人頗為相似，同樣作為導(dǎo)演的她，也是一名演員。戴克以往的作品，總是帶著一定程度上的形式化的美感，也顯露著女性特有的細(xì)膩。在她的作品中，鏡頭更像是一雙可以無(wú)限接近角色人物的眼睛，時(shí)刻捕捉著主觀視角下的人物的行動(dòng)和當(dāng)時(shí)的情內(nèi)心狀態(tài)。

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.