即刻觀影
劇情賞析
編輯推薦
綿羊偵探團
休·杰克曼,尼可拉斯·博朗,尼古拉斯·加利齊納,莫莉·戈登,茱莉亞·路易斯-德瑞弗斯,克里斯·奧多德,布萊恩·克蘭斯頓,帕特里克·斯圖爾特,雷吉娜·赫爾,貝拉·拉姆齊,瑞斯·達比,布雷特·戈德斯坦,艾瑪·湯普森,周洪,康勒斯·希爾,托辛·科爾,寇布勒·霍爾德布魯克-史密斯,曼蒂普·迪倫,詹姆斯·賴特,喬治·哈里斯,斯特拉·斯托克爾,本·優素福,喬舒亞·希爾牧羊人喬治（休·杰克曼 飾）最愛給羊群讀偵探小說，沒想到自己有一天會離奇死亡。他留下的3000萬巨額遺產，讓每個人貌似都有犯罪動機。警察毫無頭緒之時，羊群們決定“不務正業”邁出牧場，追查牧羊人“躺平”真相！它們秉承著遇見麻煩就吃草，嗅到危險就躺倒的哲學，卻迎來了一個意想不到的結果……影片改編自萊奧妮·斯萬的暢銷小說。
凱歌香檳
娜塔莎·奧基弗,海莉·貝內特,湯姆·斯圖里奇,本·邁爾斯,里奧·蘇特,薩姆·賴利,保羅·瑞斯,卡拉·西摩,克里斯·拉金,安森·布恩,伊恩·克寧漢,塞西莉·克利夫,Joseph Rapp,David Emmanuel該片基于Tilar J. Mazzeo所著小說《The Widow Clicquot: The Story of a Champagne Empire and the Woman Who Ruled It》，講述19世紀法國凱歌酒莊早年的堅韌發家歷程，將這個標志性橙色品牌背后的迷人年輕女子形象栩栩如生地展現出來。 凱歌香檳1772年由商人菲利普·克里科創立，其子弗朗索瓦·克里科與商業大亨尼古拉斯·龐薩丁的女兒芭比·妮可·龐薩丁結婚后，夫妻倆逐漸接手酒廠，一同發展香檳事業。七年后，弗朗索瓦在30歲時因傷寒突然去世，震驚的菲利普打算清算公司，27歲的芭比決定接管丈夫的生意，成為19世紀初期在男性主導的世界中經營國際企業的首批商業女性之一。在當時的法國，寡婦是唯一不需要經過丈夫或父親的同意進行工作、讀書的女性。 因為戰爭，酒業一度搖搖欲墜，公司面臨破產，芭比通過將香檳出口到俄羅斯力挽狂瀾，拿破侖戰爭期間，凱歌香檳在整個歐洲的皇室宮廷取得了大幅進展，將其確立為整個歐洲上流社會和貴族青睞的飲品方面發揮了重要作用。
冰尸玩過界
Seth David Mitchell,Brit Morgan,Noah Segan不久前剛剛得知自己懷孕的艾瑪（布麗特·摩根 Brit Morgan 飾），懷著異樣復雜的心情隨同尚不知情的男友麥克（希斯·戴維·米切爾 Seth David Mitchell 飾）來到一處位于雪山冰原之間的小鎮度假。無垠曠野，萬籟俱寂，看似一切都是那么浪漫美好，但是他們駕駛雪地摩托時遭遇事故，二人相互攙扶，勉強回到帳篷。在完全沒有信號的深山腹地，麥克他們不僅要對抗嚴苛冰冷的自然環境，還要承受莫大的精神壓力盡快修好雪橇摩托逃離此地。 在此過程中，二人間爆發著爭吵，而更大的危機正漸漸向他們逼近。直到某天，艾瑪意外變成了這座山林中的孤身一人……
騎乘挑戰
田中秀幸,松井菜櫻子,小山茉美,富山敬,林原惠美,本多知惠子,筈見純,屋良有作,飛田展男,小林通孝,鹽屋浩三,田中和實,小杉十郎太OVA化もされた園田健一原作のコミック「ガンスミスキャツ」の元となったOVA。「ロードバスター」の名を持つ凄腕の運び屋であるビーン?バンデット。ある日、ビーンはグリムウッド家の令嬢であるチェルシーを誘拐した容疑をかけられ、警察から追われる身になってしまった！ 果たして、彼の運命は…？
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.
終歸為塵
安吉拉·莫利納,阿爾佛萊德·卡斯特羅,莫妮卡·阿爾米拉爾,Patrícia Bargalló,Alván Prado,Manuela Biedermann,Emma Corbacho,Pol Garibaldi Gris,Nicolás Fuentes,Vito Pietroburgo,Irene Ta,Valeria Scheilen,Aleix Plademunt,Lissy Pernthaler,Silvan Luley,Lorena Nogal,Shay Partush,Oriol Genís,M在被診斷出患有絕癥后，克萊爾決定進行最后一次旅行，前往瑞士。在那里，她可以在一家協助自殺協會的幫助下決定如何以及何時結束自己的生命。陪伴她超過四十年的查洛決定與她一同踏上這段單程之旅。與此同時，摩根娜在父母之間以及他們即將離開的所有事物之間成為了一個不情愿的調解人，同時也在努力尋找自己在這個故事中的位置。