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顧燦情趣網襪忘情自摸好潤滑
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亨利·休格的神奇故事
本尼迪克特·康伯巴奇,拉爾夫·費因斯,本·金斯利,戴夫·帕特爾,理查德·艾歐阿德德爾蘇·烏扎拉
馬克西姆·蒙祖克,尤里·索洛明,斯韋特蘭娜·丹尼爾琴科布賴頓硬糖
薩姆·賴利,安德麗婭·賴斯伯勒,海倫·米倫,約翰·赫特,菲爾·戴維斯,儂索·阿諾斯,克雷格·帕金森,安迪·瑟金斯,西恩·哈里斯,杰夫·貝爾,史蒂文·羅伯特森,莫里斯·洛維斯,斯蒂夫·艾弗茨,Francis Magee,Adrian Schiller變鬼2
Laila Boonyasak,Phan Rojanarangsri,Pitchanart Sakakorn戒靈
桑格豪森的渴望
克拉拉·施溫寧,馬瑞爾·凱沙瓦茨,亨麗埃特·肯夫里烏斯,若阿內斯·貝爾茨,安德里亞斯·比特爾,安德烈亞斯·德勒,梅拉·芬克,帕特里克·弗蘭扎克,蘇珊·弗洛莫,杰里米·加利亞納,安東·戈諾波爾斯基,萊昂尼·哈莫,邁克爾·哈斯通,瑪琳·豪瑟,弗蘭基斯卡·海納爾,霍斯特·海尼,克里斯托弗·卡尼,阿里桑德拉·納普,布索里·列,李景澤人氣佳作
密室綁架
杰拉·哈斯,克雷蒙斯·施伊克,馬克斯·馮·德·格羅本邊境戰爭2
瓦倫·達萬,桑尼·戴爾,迪爾吉特·多桑,阿汗·謝迪,Hariom Kalra,莫娜·辛格,索納姆.巴吉瓦,Medha Rana,Ali Hassan,Anya Singh,帕蘭維爾·切瑪,阿努拉格·阿羅拉,Ishika Gagneja,Sudesh Berry,Gaurahha Ujjwal,Vaquar Shaikh,Karan Maan腐壞之巫
阿麗亞娜·德博斯,馬爾頓·索克斯,芭比·費雷拉,阿瑪拉·卡蘭,阿里安·穆阿耶德,桑婭·奧爾森蘭,杰瑞米·惠勒,朵卡·格萊拉斯,米克爾·布拉特·西爾塞特,加布里埃爾·德雷克,伊莫拉·加斯帕爾,加博爾·納吉帕爾,Harry Szovik,Robert Jackson,Rudolf Molnár,Jason York,安德魯·赫夫勒,Gabor Kovacs,Zoltán Seress,Shiraz Khan防空洞
維羅尼卡·莫希雷娃,伊戈爾·別特連科,Fyodor Lavrov,Mikhail Novikov,阿列克謝·舍甫琴科夫,亞歷山大·梅喬金,Maksim Saprykin,瑪格麗塔·阿布羅斯金,Nikita Abdulov,迪安·邁耶,Oleg Novikov,Artem Zlobin,Kirill Taskin,Andrey Marusin,Maksim Plekhanov,Maksim Gorshkov,Mikhail Sevastyanov,Daniel Littau,Linda Akhmetzyan導演精選
愉快動物餅干電影版
本片以1978年開始發售就一直受到喜愛的點心“愉快動物餅干”為基礎制作,講述了以獅子為首,大象、河馬、猴子、小兔、小貓、長頸鹿、鱷魚、小雞,以及新角色天馬行空又哭又笑的故事,描寫了只有“可愛”這一優點的他們,為了拯救世界滅亡的危機而奮斗的模樣。
蜱蟲叮咬的真實之美
經歷了一件令人不安的事后,伊馮娜驅車前往朋友卡米爾位于田園詩般的新家,想在那里待一段時間。卡米爾的兩個新朋友A.J.和艾薩克熱情地接待了她,他們或許也住在那里。大家約定周末一起享用用當地新鮮食材烹制的家常菜,并在燭光下玩一些室內游戲。然而,當伊馮娜被蜱蟲叮咬后出現令人不安的癥狀時,這片寧靜的鄉村天堂瞬間消失,取而代之的是滋生令人不安的新生命的溫床。
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.