影片推薦
榮歸1978
簡·方達,喬恩·沃伊特,布魯斯·鄧恩,佩內洛普·米爾福,羅伯特·卡拉丁,羅伯特·金蒂,凱瑟琳·米勒入主客房
圭多·卡普里諾,卡米拉·菲利皮,愛德華多·佩謝,Romeo Pellegrini抵擋計劃
Donald Cerrone,凱利·林恩·萊特,Vincent E. McDaniel,布蘭迪·羅德里克,Chris Maher惡魔的破壞 后篇
幾田莉拉,志水彩乃,種崎敦美,島袋美由利,大木咲繪子,和氣杏未,白石涼子,入野自由,內山昂輝,坂泰斗,諏訪部順一,津田健次郎失落的世界1960
邁克爾·倫尼,大衛·海迪生,Jill St. Hedison,克勞德·雷恩斯,費爾南多·拉馬斯,理查德·海頓,Ray Stricklyn黃金七令之羅剎風云
任子豪,何雨宸,李子雄,李家辛,徐俊,謝昌定,朱翔,曹憶,錢婧睿,張宸彬,高迦瀾,曾慶生,范奇同類精選
A面B面
陳曉東,張靜初,芙蓉姐姐,袁文康,孔維,鄧家佳,任泉,王洛勇 Luoyong Wang鬼上車
盧·洛貝爾,雅各布·西皮奧,梅麗莎·里奧,德薇埃爾·約翰遜,邦妮·迪肖恩,布雷特·貝德羅西安,托尼·杜佩,杰西卡·克魯茲,米歇爾·L·皮特斯母親的皮下
安吉莉·芭雅妮,Beauty Gonzalez,賈絲敏·柯提斯-史密斯金諜行動
杰克·吉倫哈爾,亨利·卡維爾,裴淳華,艾莎·岡薩雷斯,費舍·史蒂芬斯, 埃米特·J·斯坎倫,克里斯托弗·海維尤,科喬·阿塔,克里斯蒂安·奧喬亞·拉維尼亞,穆罕默德·阿勒·圖爾基,杰森·王,卡洛斯·巴登,科里·道格拉斯·坎貝爾,拉娜·阿拉慕丁,貢薩洛·博烏薩,卡洛斯·克勞曼斯莫勒,西爾維婭·納瓦爾,阿爾韋薩姆·希格達爾,阿列克謝·丘納耶夫皮附
Tristan Beint,Amelia Bennett,Simon Rivers密室綁架
杰拉·哈斯,克雷蒙斯·施伊克,馬克斯·馮·德·格羅本影視排行
落葉球
David Koberidze,Otar Nijaradze攝影師麗莎突然失蹤。最后的線索指向她拍攝過的七個足球場——它們散落在格魯吉亞七個偏遠村莊。父親伊拉克利踏遍這些球場尋女,麗莎的摯友、如幽靈般的列瓦尼悄然加入搜尋。每當球場更迭,相遇的村民與他們的故事便如走馬燈般輪轉??此苹恼Q的旅程里暗涌漸起:每踏過一片坑洼的草場,每穿過 一座寂靜村莊,找到麗莎的希望便如晨霧般日漸稀薄。
生息之地
汪尚,張楚文,張彥榮因父母工作原因,十歲的徐闖一直寄居在鄉下姥姥家,他和堂舅李飽的兒子賴蛋是一對好朋友。1991年,徐闖經歷了家族中的生老病死、婚喪嫁娶,在歲月靜流之中感受著親人之間隱忍又濃烈的情感。那一年的鄉村也在悄然改變……
鐘無艷
鄭秀文,梅艷芳,張柏芝,黃浩然,林雪,王天林,許紹雄春秋戰國時期,一向昏庸好色的齊宣王(梅艷芳飾)誤闖夜叉山,碰上了美麗的寨主鐘無艷(鄭秀文飾),齊宣王決定把鐘無艷娶為皇后,可是一直傾心于鐘無艷的“狐貍精”(張柏芝飾)出手阻撓,只要鐘無艷愛上其他的人,臉上便會無緣無故多出一塊難看的紅斑。狐貍精后來化身夏迎春勾引齊宣王,齊宣王終日沉醉溫柔鄉。而鐘無艷為了夫君出生入死、南征北戰。齊宣王只會有事求助于鐘無艷時才好言相向。齊宣王十分好賭,竟然把鐘無艷作為作為籌碼輸掉了,鐘無艷憤怒離開,臉上紅斑也自然消失。夏迎春得逞后也離開了皇宮,齊宣王才發現自己最愛為何人,浪子回頭。在受到叛徒攻擊時,還是愛著齊宣王的鐘無艷,趕到了皇宮,幫忙驅走外敵……
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.