在線看
同款熱播
感染她嘴唇的欲望2025
鵜川もえか,渡邉結(jié)衣,原田英里佳,新嘉喜由芽本片改編自寄田みゆき創(chuàng)作的同名漫畫。伊藤早奈是一個可愛的女高中生，生活充滿了快樂，但從未體驗過戀愛的感覺。因為車禍住院的早奈，在醫(yī)院里被一個非常漂亮的女生吸引了。于是，一段青澀甜蜜的戀愛開始了！
指控之后
普拉蒂巴·蘭塔,康柯納·森·沙爾瑪Netflix即將上映的電影“無聊”不僅僅是一部驚悚片，而是對社會思維的尖銳質(zhì)疑。一個被困在身份和信任之間的醫(yī)生的故事 - 在判決法庭之前，社會會聽到。準備好觀看Konkana Sen Sharma的壓倒性化身。Netflix將再次推動印度原創(chuàng)內(nèi)容的極限。OTT巨頭宣布其即將推出的心理戲劇驚悚電影“無聊”，這將于2026年發(fā)布。在這個嚴肅而多層次的故事中，Konkana Sen Sharma和天才Ranta將扮演主角。
宇宙巨人：希曼崛起
尼古拉斯·加利齊納,卡米拉·門德斯,伊德瑞斯·艾爾巴,杰瑞德·萊托,夏洛特·萊利,詹姆斯·鮑弗,莫蕾娜·巴卡琳,愛麗森·布里,克里斯汀·韋格,約翰內(nèi)斯·豪克爾·約翰內(nèi)森,阿爾蒂·威爾金森-亨特,薩希爾·澤瑪塔,馬克斯·克勞斯,科喬·阿塔,山姆·C·威爾遜,哈夫托爾·尤利烏斯·比約恩松,埃爾·法瑞爾,詹姆斯·威爾金森,Jon Xue Zhang,斯蒂芬·阿登坦亞當（尼古拉斯·加利齊納 飾）在神秘圣劍的召喚下，塵封十五年的異世界王子身份覺醒，平凡人生被徹底顛覆。他跨越時空重返埃坦尼亞，但故鄉(xiāng)早已在骷髏王的統(tǒng)治下分崩離析。為拯救曾經(jīng)的家園與現(xiàn)在的世界，亞當必須再次拔出圣劍，喊出那句響徹寰宇的咒語——“賜予我力量吧！我是希曼！”
極度失眠
Maria Mathiesen,斯特蘭·斯卡斯加德,斯威爾·安克·奧斯達,Gisken Armand,克里斯蒂安·菲根斯科1997年，一部來自挪威的驚悚片《失眠者》上映后獲得好評，《芝加哥太陽報》的著名影評人羅杰，艾伯特給出了3星半的高分，他盛贊該片“不僅僅是一部驚悚片或動作片，而是一次心理學(xué)上的探索與學(xué)習”。兩犯罪調(diào)查者到挪威北方一個鎮(zhèn)幫助解決一個年輕的女孩的謀殺案，誰知陷入了巨大的困境之中。
兇地
平采娜·樂維瑟派布恩,Golf Pichaya Nitipaisalkul,Ivrin Osathanond,Manatsanun Phanlerdwongsakul,尼克.坤納提帕.平帕拉達布,Pharanyu Rojanawuthitham,巴東·頌桑,坦瓦林·蘇卡皮西特,Chaiwat Thongsaeng,查理·瑞納本劇改編自泰國四段真實新聞事件。【亡命巴士】曾經(jīng)肇事的公車巴士，在夜晚最后一班車，搭載著往往不是人……【靈魅旅社】入住廉價旅社務(wù)必三思，晚上陪你入眠的可能不只一人……【酒店冥花】KTV酒店，萬年照不到陽光之處，店內(nèi)瘴癘之氣盤據(jù)，長年身在其中工作，早已人鬼難辨……【陰陽禪寺】替人祈福的僧者，竟是殺人兇手？壽未終，尸難寢；慘死冤魂，人間流返。
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.