即刻觀影
劇情賞析
編輯推薦
謊言與偷竊
艾米麗·拉塔科斯基,西奧·詹姆斯,弗雷德·邁拉麥德,艾邦·摩斯-巴克拉赫,小伊塞亞·維特洛克,伊萬·漢德勒,約翰·蓋汀斯提奧·詹姆斯、艾米麗·拉塔科夫斯基(《消失的愛人》)主演犯罪新片《謊言與偷竊》(Lying and Stealing)首曝劇照，近日剛于洛杉磯開拍。Matt Aselton(《不可思議》)執(zhí)導(dǎo)，講述一個(gè)年輕、圓滑的賊Ivan，他的專長(zhǎng)是盜竊洛杉磯上層集團(tuán)的高端藝術(shù)品，事業(yè)發(fā)展很順利，但他想退出。Elyse是一名很有前途的女演員，她的密室里堆有成山的建筑骨架和大量債務(wù)。兩位機(jī)靈的騙子決定合作，參與一項(xiàng)大膽的搶劫案。 弗雷德·邁拉麥德(《嚴(yán)肅的男人》《炸天女郎》)、Ebon Moss-Bachrach(《懲罰者》《末日孤艦》)、Isiah Whitlock Jr.(《迷霧》《副總統(tǒng)》)、伊萬·漢德勒(《加州靡情》《欲望都市》)、約翰·蓋汀斯(《鐵甲鋼拳》《極品飛車》)等參演，Michael Costigan(《斷背山》《美國(guó)黑幫》)、Naomi Despres(《一級(jí)重罪》《殺死信使》)、Christopher Tricarico(《高堡奇人》《五月夏日》)、Mohamed AlRafi(《毋庸置疑》)共同制片。
暴風(fēng)雨之星
Vladimir Yemelyanov,Georgi Zhzhyonov,Gennadi VernovUpon arrival to Venus, cosmonauts find furious volcanoes and sundry prehistoric beasts in Klushantev's film, based on a novel by the Soviet sci-fi writer Aleksandr Kazantsev. Footage has been recycled in three Corman productions: Voyage to the Prehistoric Planet, Queen of Blood, and Voyage to the Planet of Prehistoric Women (the directorial debut of Peter Bogdanovich). 83min
本能反應(yīng)
安東尼·霍普金斯,小庫(kù)珀·古丁,唐納德·薩瑟蘭鮑威爾（安東尼?霍普金斯 Anthony Hopkins 飾）是一位專門研究黑猩猩的人類學(xué)家，他在盧旺達(dá)長(zhǎng)期觀察觀察當(dāng)?shù)睾谛尚傻幕顒?dòng)。然而兩年前，這位性情溫和的學(xué)者突然性情大變，殺了兩位當(dāng)?shù)氐纳止芾韱T以及傷害了多名管理員后神秘失蹤。如今，他終于被逮捕歸案，關(guān)押在美國(guó)高度戒嚴(yán)的精神病監(jiān)獄。 年輕的精神病專家卡爾特（小庫(kù)珀?古丁 Cuba Gooding 飾）意圖揭開鮑威爾精神失常之謎而一舉成名，于是他深入到監(jiān)獄直接與鮑威爾進(jìn)行對(duì)話。鮑威爾一開始對(duì)這位訪客充滿敵意，身為人類學(xué)家的他在卡爾特面前一點(diǎn)也不落下風(fēng)。隨著對(duì)話的逐漸深入，卡爾特漸漸了解到了事件真相：鮑威爾殺害的管理員其實(shí)是偷獵大猩猩的惡棍……
另一個(gè)人
連姆·尼森,安東尼奧·班德拉斯,勞拉·琳妮,蘿瑪拉·嘉瑞,Abigail Canton外人看來，彼得（連姆·尼森 Liam Neeson 飾）無疑是一個(gè)幸福的男人，妻子麗薩（勞拉·琳妮 Laura Linney 飾）溫柔漂亮，兩人的婚姻穩(wěn)定而美滿。可近日來，彼得發(fā)現(xiàn)麗薩的行為舉止越來越奇怪，多疑的他本能的想到，麗薩可能已經(jīng)另結(jié)新歡了。面對(duì)妻子的出軌，占有欲極強(qiáng)的彼得感到妒火中燒，通過種種線索，一個(gè)名叫雷夫（安東尼奧·班德拉斯 Antonio Banderas 飾）的男人浮出了水面。 追隨著麗薩的腳步，彼得來到了意大利，在這里，他果然見到了雷夫。狡猾的彼得決定先隱藏身份，接近雷夫。可是，隨著彼得和雷夫的關(guān)系越來越近，彼得發(fā)現(xiàn)自己漸漸無法控制自己的言行，他對(duì)雷夫的存在深惡痛絕，恨不得殺之而后快。
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.
米納里
史蒂文·元,韓藝璃,達(dá)里爾·考克斯,威爾·帕頓,尹汝貞,蒂娜·帕克,斯科特·黑茲,艾倫·S·金,Laurie Cummings,埃里克·斯達(dá)克,Esther Moon,Ben Hall,Noel Cho,Chloe Lee,James Carroll,Jacob M Wade,Jenny Phagan故事發(fā)生在20世紀(jì)80年代的美國(guó)，美籍韓裔男子雅各布（史蒂文·元 Steven Yeun 飾）帶著妻子莫妮卡（韓藝璃 飾）和兩個(gè)孩子大衛(wèi)（Alan S. Kim 飾）、安妮（Noel Cho 飾）一起從熟悉的西海岸搬到了偏僻而又陌生的阿肯色州。雖然對(duì)于丈夫的這一決定，莫妮卡的心中十分的反對(duì)，但她拗不過雅各布的堅(jiān)決和頑固，只得被迫夫唱婦隨。蠻荒之地的生活既不舒適也不有趣，在最初的新鮮感過去之后，大衛(wèi)和安妮很快就開始懷念起過去的生活了。之后，孩子們的外婆也來到了他們的身邊，給這個(gè)家庭帶來了一絲熱鬧的氣息。雅各布沒有發(fā)現(xiàn)的是，當(dāng)他將越來越多的時(shí)間和精力投入到開發(fā)農(nóng)場(chǎng)這件事情上時(shí)，他和妻子之間的距離就越來越遠(yuǎn)。