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同類好片
破軍X檔案隱身人
白云峰 沐嵐 杜宇航 克拉拉喂,應(yīng)為
長澤雅美,永瀨正敏,高橋海人,大谷亮平,筱井英介,奧野瑛太,寺島忍桑格豪森的渴望
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(nèi)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,李景澤熱血敢死隊(duì)
隋存毅,李恰,李博,呂九億,呂晨,王錦,劉小賓,楊明,馮奕鳴鬼神童子1997
橫山智佐,山口勝平,小杉十郎太,丹羽紫保里,兒玉桃代,沼波輝枝,一城美由希,石桃子腐壞之巫
阿麗亞娜·德博斯,馬爾頓·索克斯,芭比·費(fèi)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人氣佳作
照亮黑暗
Aamani,Esha Chawla,占西,Vishwadev Rachakonda最終測(cè)試
安東尼·邁克爾·豪爾,查理·吉爾萊斯皮爾,漢娜·凱普爾,約翰·卡普洛斯,利麗克·羅斯埃塞爾阿姨的萬圣節(jié)
Chris Cavalier,Melissa Daddio,西恩·邁克爾·格洛里亞,Jason Henne,Rhyssa-Kathryn Marie,Jovanni Mazzaferro,Lisa Mcconnell,Madeleine Murphy,Kierney Nelson,Stephanie Town,Gail Yost極限人生2026
張子棟,張雪菡,肥龍,王蕊,曹然然,王曉曦,吳連生導(dǎo)演精選
忠勇之家
故事發(fā)生在一九三九年的夏天,克里姆(沃爾特·皮金 Walter Pidgeon 飾)和妻子米尼佛夫人(葛麗亞·嘉遜 Greer Garson 飾)住在英國郊外,兩人結(jié)婚多年,生了三個(gè)孩子,生活幸福美滿。克里姆的大兒子韋恩(理查德·內(nèi)伊 Richard Ney 飾)愛上了花會(huì)創(chuàng)辦人的孫女貝爾(特雷莎·懷特 Teresa Wright 飾),情投意合的兩人很快走到了一起。戰(zhàn)爭開始了,韋恩想要為國效忠,趕往了前線,而克里姆和米尼佛夫人則在后方支援。某日,一名德國飛行員受傷闖入了米尼佛夫人的后花園,米尼佛夫人憑借著自己的勇敢與智慧協(xié)助警察成功將其捉拿。米尼佛夫人和貝爾小姐在送韋恩前往駐地的途中遭遇了空襲,一時(shí)間兇多吉少。
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.
南方時(shí)光
小洲總是背著父親薛大隊(duì)長在學(xué)校調(diào)皮搗蛋,這次跟死黨小馬與胖雄又闖禍了,訓(xùn)導(dǎo)主任牛頭于是一狀告到薛大隊(duì)長那里。父親將小洲痛責(zé),更在他書包里搜出小馬的香煙,為此又將小洲嚴(yán)懲。小洲含冤受屈后憤而出走,心中更暗盼父親可以從這個(gè)家消失;沒想到當(dāng)晚從對(duì)岸發(fā)射的兩顆導(dǎo)彈竟令小洲如愿,薛大隊(duì)長必須離家往前線去。父親不在家,小洲與小馬、胖雄的行動(dòng)更肆無忌憚,卻因此而惹上學(xué)校的小霸王大毛。小洲為對(duì)抗大毛,求助于國宅幫的少年頭頭A 司;A 司答應(yīng)幫忙,卻要三人付保護(hù)費(fèi)。 三人夾在大毛與 A 司之間,飽受兩方威脅。這時(shí)臺(tái)灣面臨戰(zhàn)爭邊緣,股票大跌,總統(tǒng)直選在即,民間吹起移民潮。1996 年的南方時(shí)光,紛擾躁動(dòng),回想起來令人惘然。