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冰尸玩過界
Seth David Mitchell,Brit Morgan,Noah Segan美國暴力
布魯斯·鄧恩,丹妮絲·理查茲,凱維·萊曼-默塞尤,哥倫布·紹特,羅布·格隆科夫斯基,邁克爾·帕爾,約翰尼·梅辛納,愛瑪·里格比,尼克·齊蘭德,帕特里克·基爾帕特里克,邁克爾·約翰·朗,米歇爾·圣托彼得羅,威洛·黑爾蝸牛籃球隊
尸咒
金允慧,宋以載,樸智勛,李相亞夏日躁動
Fanta Kebe,希雷爾·納塔夫,艾蜜兒·班特,伊迪爾·阿祖格利,Yuming Hey,蘇贊妮·德芭奎,Zakaria-Tayeb Lazab,Mouctar Diawara,Nicola Bulatovic,Mohamed Dramé,Yassine Mahavita,Aymane Mazit,Djibril Diamoye,Nour Lajiri,Fatoumata Koné,Lilya Jabelmeki,Mariam Diamoye,Cynthia Hounkpati,Zeinab Karam大佛回國
Philip Granger,Toshi Toda,寶田明,森田友希,Shelley Sweeney,久保明,Peggy Neal,Robert Scott Field,螢雪次朗,Francisco de Borja De la Bella,小林夕岐子,Inge Murata,Yoshiro Uchida,Ippei ?sako,Norman England同類推薦
急轉直下
凱特·貝金賽爾,斯科特·伊斯特伍德,馬特·克拉文,安娜·戈爾佳,塔利亞·亞瑟拉夫,阿文·卡納尼安,亞歷杭德拉·霍華德,羅伯特·法里奧爾,喬丹·杜維尼奧,馬達萊娜·瓦萊基·威廉姆斯,帕滕·休斯,馬西莫·麥奎因莫琳·達巴格是一位母親,當她的前夫綁架了他們的小女兒阿米娜并消失在中東時,她的世界崩潰了。絕望而無情的莫琳與羅伯森合作,羅伯森是一名經驗豐富的前海軍陸戰隊員,也是兒童綁架案件的專家。這部電影以貝魯特動蕩的背景為背景,講述了莫琳和羅伯遜陷入一個充滿國際間諜、腐敗和背叛的陰暗世界。隨著時間的流逝,風險高得不可思議,莫琳必須在與時間的賽跑中面對不可能的選擇。本片是一段緊張而感性的旅程,探索了一位母親為拯救孩子所做的努力,即使她在每個轉折點都面臨著隱藏的危險。
痊愈
Stephanie Pearson,Hope Quattrocki,Liz Fenning一個隱蔽的海洛因治療中心的病人和工作人員必須與他們自己的惡魔進行戰斗,因為一個神秘的殺手開始一個接一個地把他們抓走。
交響詩篇超進化2
動畫《交響詩篇》的劇場版動畫《交響詩篇 超進化》續作預計于11月10日正式上映,正式片名定為《ANEMONE/交響詩篇超進化》,宣傳PV今日公開。故事以TV動畫《交響詩篇》中最初的東京為舞臺,故事主要圍繞7年前喪父的安妮莫奈展開。
遇見不同的遇見
高曉攀,李萌萌,李明,龔玥菲,劉德強,趙晉,張暘,郭京波,趙銘,王雪純,金道鑫鑫,于時弈,劉樂銘都市“躺平青年”但爽,帶領“突如其來”電視欄目組,突襲暗訪專業從事借錢為生的老鄉“滾刀肉”吳德,在吳德的引領下,但爽有緣結識了有財、有貌的“超級卷王”是蒂,未曾想這對歡喜冤家的愛情之路總是遇見不同的遇見,在經歷了英雄救美、海景房騙局、P2P理財“深坑”的一系列驚心動魄的故事下,最終花好月圓走在了一起。
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.