在線看
同款熱播
人皮燈籠
梁家輝,邱淑貞,黃光亮,張耀揚(yáng),苑瓊丹,黃斌,林迪安,樂韻1963年，一伙黑幫分子在老大的指使下將一對(duì)情人殘忍殺害，男子被埋在“十世受苦，不得超生”的陰穴處；而女子被扒皮，皮罩在燈籠上，永世不得超生。 1993年，蠱惑仔阿輝（梁家輝 飾）終日倒霉透頂，而且身邊連連發(fā)生奇怪靈異世間。阿輝在古董攤買下一古董表，卻被一股力量莫名牽引到一棟廢宅里，半夢(mèng)半醒間見自己與一個(gè)叫小芙蓉的藝旦（邱淑貞 飾）親熱的場(chǎng)面。 輝在醫(yī)院被一鬼魂提醒只有四婆能夠解救自己，于是他前往找四婆。四婆為他問米，他從盆中之水漸漸看到了自己的前世悲慘遭遇……
倚天屠龍記之魔教教主
李連杰,張敏,邱淑貞,黎姿,洪金寶,吳鎮(zhèn)宇,吳耀漢,曹榮,閆懷禮,梁家仁,鄒兆龍,田啟文,張春仲,姬麒麟張翠山（吳鎮(zhèn)宇 飾）攜妻及子張無忌（李連杰 飾）從孤島出發(fā)趕去給其師父賀百歲大壽的途中，被人暗算，張無忌中寒冰掌。在武當(dāng)山，張翠山和妻子被各大門派逼迫致死，張無忌也不再能練習(xí)武功，只能靠張三豐每日所輸真氣得以殘活。張三豐的舉動(dòng)引來宋青書（鄒兆龍 飾）的妒忌，他聯(lián)合了峨眉女弟子周芷若（黎姿 飾）共同對(duì)付張無 忌。明教圣女小昭（邱淑貞 飾）令張無忌改變命運(yùn)，使其先在斷崖上遇到高人治好體內(nèi)寒冰毒、學(xué)會(huì)九成“九陽神功”，又在明教禁地練得“乾坤大挪移心法”。得知蒙古郡主趙敏（張敏 飾）設(shè)計(jì)令江湖六大派圍攻光明頂想殲滅明教時(shí)，張無忌決意為拯救明教赴湯蹈火。
卡薩諾瓦1976
唐納德·薩瑟蘭,蒂娜·奧蒙特,Cicely Browne,卡門·斯卡爾佩特,Clara Algranti,Daniela Gatti,瑪格瑞斯·克里蒙地,奧林匹婭·卡爾立斯,Silvana Fusacchia,切斯蒂·摩根,Leda Lojodice,Sandra Elaine Allen,Clarissa Mary Roll,丹尼爾·埃米爾福克,Luigi Zerbinati,Hans van de Hoek,杜德里·沙頓,約翰·卡爾森,雷吉·納爾德,芭芭拉·斯蒂爾,弗朗切斯科·德羅薩,Harold I意大利導(dǎo)演費(fèi)德里克．費(fèi)里尼的中期經(jīng)典作《八部半》是其成熟高峰期作品，此后開始走向糜爛而至腐敗，偏于肉欲放縱和自我沉溺，像《費(fèi)里尼之薩蒂尼康》（六九年）和本片，都是糜爛頹廢的出色力作。本片反映了十八世紀(jì)基督道德不振后的上流腐化放縱，費(fèi)里尼盡情借題發(fā)揮，展現(xiàn)出精英文藝在人欲橫流下的腐爛情態(tài)。大情人卡薩諾華是在情場(chǎng)屢戰(zhàn)屢勝的“性斗士"，不斷獵艷，還參加造愛競賽。但這大情人苦于人人只重他的性愛能力，不重視他經(jīng)世濟(jì)民治國的才學(xué)。而且女人們對(duì)他都“有性無愛"，當(dāng)他衰老得失去性魅力之后，就只能把一個(gè)機(jī)械女人當(dāng)作夢(mèng)中情人，很可悲可憐。
光環(huán)：夜幕
麥克·柯爾特,克里斯蒂娜·鐘美劇《光暈：夜幕降臨》劇情是緊接《Halo4》和《Halo5》，其中游戲人物Jameson Locke(Mike Colter飾演)將繼續(xù)扮演核心角色，他即是一個(gè)“傳奇的賞金獵人”，同時(shí)也是美國海軍情報(bào)局的特工。 在預(yù)告片中，Jameson Locke和他的團(tuán)隊(duì)陷入到一場(chǎng)有預(yù)謀的生物攻擊之中，在那里他們很快發(fā)現(xiàn)了這個(gè)陰謀，他們隨后被帶到了一艘遠(yuǎn)古的飛行器里。在那里他們被迫“為生存而戰(zhàn)，并對(duì)一切事物保持猜疑”，最終在忠誠和生存之間做出抉擇。 最后微軟也表示，這部美劇《光環(huán)：夜幕降臨》將與《光暈》士官長典藏版同期上映，預(yù)計(jì)從11月11日開播。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),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(yáng)·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.
羊背上的DJ
Arif Jakup,Agush Agushev,Aksel Mehmet,Dora Akan Zlatanova,Selpin Kerim,Atila Klince,Elhame Bilal,Metin Ibrahim,Tamer Ibrahim,Adem Karaga,Nadzi Shaban本片在2025年圣丹斯電影節(jié)一舉拿下世界劇情片競賽單元評(píng)審團(tuán)特別獎(jiǎng)（創(chuàng)作視野）和觀眾獎(jiǎng)兩項(xiàng)大獎(jiǎng)。馬其頓偏遠(yuǎn)村莊的15歲的牧羊少年沉醉于音樂世界，但在傳統(tǒng)社會(huì)規(guī)則下，他必須面對(duì)來自周遭環(huán)境與父親的質(zhì)疑。某日放羊途中，他偶遇了一場(chǎng)大型的電子舞會(huì)，邂逅令他心動(dòng)的女孩……導(dǎo)演喬治·M·溫科夫斯基的長片首作試圖探索集體期望與自我表達(dá)之間的微妙平衡。片中鮮活的色彩、詼諧的橋段、惹人憐愛的角色和韻律十足的音樂，為這個(gè)成長故事注入勃勃生命力。影片溫柔且有力地回答了藝術(shù)如何成為精神避難所，又如何變?yōu)槌砷L催化劑。