即刻觀影
劇情賞析
編輯推薦
傷心童話
劉詩詩,胡夏,大左,謝楠,徐正超,伊力奇,楊悅,付滃,張子棟,趙佳怡,鞠泓宇,張一鳴,葉清源影視公司宣傳企劃楊佳（劉詩詩 飾）得了怪病，命懸一線。暗戀她的程序員劉同（胡夏 飾）為使她不留遺憾，決定在她每次昏迷蘇醒之際，以穿越之名為她圓夢。但，劉同的行動并不順利，除了突發情況帶來的穿幫，還有來自情敵尹哲（大左 飾）的奮力阻撓、戳穿。劉同竭盡全力與重重困難斗智斗勇，結果卻完全出人意料——原來，楊佳并非真病，她是為對付上司騷擾，佯作患疾。劉同的努力，她完全明了，劉同為她精心設計的從民國到未來，跨越200年的美妙夢境，讓楊佳深受感動。大家到此方才恍然大悟?？墒?，又一個意外橫飛而來……
奇幻西游：新世界
許光漢,劉冠廷,庾澄慶,邵雨薇,庹宗華,鐘欣凌,魏如萱,許展榮,許展瑞未來世界，科技與數據主宰一切，當舊城區變得又老又擠，以最新科技打造的新世界，成為人人向往的移居地，然而唯有貢獻值最高的菁英，才有資格入住。八戒（許光漢 配音）又懶又自私當然失格，但他為了讓奶奶（鐘欣凌 配音）過好日子，決定違背良心，與建商總裁牛魔王（庹宗華 配音）私下交易…… 影片將《西游記》搬到科幻場景，八戒化身賽博胖客，與理工男三藏（劉冠廷 配音）、火爆護衛悟空（庾澄慶 配音）、女機器人小凈（邵雨薇 配音），穿梭新舊混雜市景，探索幸福真諦。
粽邪3：鬼門開
張庭瑚,李興文,吳奕蓉,許安植,陳博正,劉國劭,李明倉,王彩樺,黃柔閩,陳為民,曾莞婷,鄒承恩,陳雪甄,施冬麟,許莉廷,陳少卉,陳昭妃,姜仁,游否希講述冠宇（張庭瑚 飾）因與父親武雄（李興文 飾）不合，為了賺錢早日搬離家，與好友龜仔（李明倉 飾）一起到旅社打工，不料打掃的房間竟有人自縊身亡，房內充斥不祥的泰國符號，而旅社老板娘（吳奕蓉 飾）更是舉止詭異，整間旅社彌漫著死亡的氣息，向冠宇席卷而來。
不允許帶狗
卡洛·克拉姆林,羅賓·桑德曼,卡塔琳娜·瑪麗·舒伯特,斯蒂姆拜爾·蒙克,比內塔·漢森,肖恩·道格拉斯,薩米·施賴恩,維拉·菲,麗莎·里斯納,奧勒·伊斯菲特,理查德·基普,卡塔琳娜·雷,拉爾夫·霍尼克,弗蘭茨·費迪南德·克勞斯,卡特婭·烏菲爾曼,芬雷·德亞文十五歲的加博，表面過著平凡簡單的青少年生活，背后卻隱藏著不可告人的秘密—-他戀上好友的弟弟，而弟弟只有八歲！他在網上論壇尋求建議，試圖抑制戀童欲望，因而結識了戀少年經驗豐富的戴夫。直至戴夫因涉嫌侵犯未成年少年受到警方調查，加博終于不得不面對一場自我審問：他到底是受害人，還是施害者？改編自真實事件，來自德國的史蒂夫.巴赫大膽直面禁忌話題，以敏銳成熟的筆觸，探問生活與社會規范怎樣塑造了今時今日的我們。
請以你的名字呼喚我
艾米·漢莫,提莫西·查拉梅,邁克爾·斯圖巴,阿蜜拉·卡薩,艾斯特·加瑞爾,維克圖瓦爾·杜布瓦,旺妲·卡布里奧羅,安東尼奧·里莫爾迪,埃琳娜·布奇,馬可·斯格羅索,安德烈·艾席蒙,彼得·斯皮爾斯故事發生在八十年代的意大利里維埃拉，每年夏天，十七歲的少年艾力奧（提莫西·查拉梅 Timothée Chalamet 飾）都會跟家人一起來此地度假。今年，和他們共享假日時光的，還有來自美國的奧利弗（艾米·漢莫 Armie Hammer 飾），高大英俊熱情開朗的奧利弗很快就獲得了艾力奧一家人的喜愛。隨著時間的推移，艾力奧和奧利弗之間漸漸產生了致命的吸引力，但性別和年齡的桎梏讓他們遲遲無法跨出那關鍵的一步，與此同時，單純善良的少女馬奇婭（艾斯特·加萊爾 Esther Garrel 飾）也向艾力奧奉獻著自己的感情和身體。最終，洶涌的激情沖破了艾力奧和奧利弗之間的防線，兩人開始了一段注定不會有結果的戀情。
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.