慈禧秘密生活[127分鐘中港臺足本完整版]

評分：0.3 播放：41萬 更新：2026-06-10
主演： 劉偉強/

惠玉蘭（邱淑貞飾）出身葉赫那拉氏名門，得蒙圣恩入宮選為秀艾旦影視,海外影院,海外影視,海外YY,海外搶先電影,海外手機影院,海外影院APP,海外中文影視,海外影視網,海外華人影院,海外影院tv,蛋蛋電影網,海外福利影院,haiwaiyingyuan。奶媽為其求簽，卻被算命先生占卜出此女命中犯尅，將來對夫、對家、對國都是一大患。玉蘭在廟中尋貓時偶遇六王爺亦（梁家輝飾），二人結下不解之緣，之后與奶媽被山賊搶劫亦得蒙六王爺相救。亦欲前去提親卻不料玉蘭已是自己兄長的女人，不得不長嘆作別。入宮當天，玉蘭由小安子安德海（陳國邦飾）陪同，卻不小心跌落轎出丑，巧遇咸豐皇帝（于榮光飾），被其風采所迷，咸豐也對玉蘭另眼相看。也正在此時，玉蘭結下仇家麗貴人（翁虹飾）、云貴人（錢軍飾）。皇后（周嘉玲飾）心地善良，卻無子嗣，因而貴人們使盡渾身解數爭寵，只為爭得圣寵，產下阿哥，然而玉蘭不夠圓滑，處處受人排擠......

影片推薦

同類精選

影視排行

金剛的逆襲

寶田明,羅茲·利森,濱美枝,琳達·米勒,天本英世

　　60年代的日本人似乎對這個大黑猩猩情有獨鐘，在玩遍了各種哥斯拉的故事之后，依然將金剛的神奇遭遇不停地向人們展示、炫耀。光看他的故事就能讓人嚇一跳：科學家制造出了一個機械金剛，用來在北極挖掘神秘的X元素，與此同時邪惡的博士綁架了真正的金剛，令其干同樣的活，因此，機械金剛與原形之間的連番惡斗就在所難免了。

糖果 ??

崔智友,高東河

作為程序員工作的職場媽媽米拉，11歲的兒子東明突然被判定為“1型糖尿病”，受到沖擊。醫生說她一輩子都要注射胰島素，對此她感到絕望，但她忍住眼淚站了起來。米拉活用自己曾是工程學專業的專業，引進國內未上市的連續血糖測定儀，給東明戴上，并聯動監護人遠程監測血糖。有采血恐懼的東明使糖尿病管理變得容易，米拉的家人從低血糖休克的焦慮中解放出來。在環友會會員的請求接踵而至后，米拉開始告訴孩子們如何直接進口并聯動連續血糖測定儀，以幫助他們和兒子遭受同樣的疾病。但是，米拉被指控是未經許可的非法醫療器械，在沒有通關的情況下進口，沒有交稅。……為了家人，為了歡友會，她與世界對抗的故事將展開。

獵殺游戲

格倫·鮑威爾,喬什·布洛林,邁克爾·塞拉,科爾曼·多明戈,凱蒂·M·奧布萊恩,李·佩斯,威廉·H·梅西,西恩·海耶斯,大衛·札亞斯,杰米·勞森,艾米莉亞·瓊斯,卡爾·格洛斯曼,丹尼爾·埃茲拉,李·查爾斯,桑德拉·迪金森,喬治·卡羅爾,索菲·西蒙特,奧妮克·阿德莉,喬伊·安沙,布蘭登·伯克

　　在近未來的反烏托邦社會，電視真人秀《過關斬將》（The Running Man）以血腥的生存競賽霸占收視榜首。參賽者被稱為“跑者”（Runners），必須在職業殺手的追獵下存活30天，一舉一動皆被實時直播給嗜血的公眾觀眾；每多活一天，便能累積更高額獎金。　　工人階級的本·理查茲（格倫·鮑威爾 飾）為拯救重病女兒孤注一擲，被節目魅力十足卻冷酷無情的制作人丹·基利安（喬什·布洛林 飾）說服，以“最后希望”的身份踏入這場死亡游戲。　　然而，本的叛逆、求生本能與堅韌意志，竟讓他意外成為全民追捧的偶像——同時也成了整個體制的致命威脅。 隨著收視率飆升至巔峰，危險指數同步暴漲。本不僅要智勝步步緊逼的獵人，更需對抗整個國度對他“慘敗”的瘋狂期待。　　影片改編自史蒂芬·金的同名小說。

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.