雙胞胎標(biāo)志
現(xiàn)在是1930年，兩個(gè)唱片制作人--大師唱片和Onofon--正在競(jìng)爭(zhēng)與當(dāng)時(shí)的主要歌手德洛雷斯-羅西簽訂一份百萬合艾旦影視,海外影院,海外影視,海外YY,海外搶先電影,海外手機(jī)影院,海外影院APP,海外中文影視,海外影視網(wǎng),海外華人影院,海外影院tv,蛋蛋電影網(wǎng),海外福利影院,haiwaiyingyuan。兩家公司負(fù)責(zé)人將不惜一切代價(jià)與羅西女士簽約。當(dāng)烏爾文斯坦綁架了安東尼時(shí)，他認(rèn)為這已經(jīng)是囊中之物了。但他沒有想到安東尼有一個(gè)孿生兄弟本尼--一個(gè)性格直爽的殯儀館館長--他被 "招募 "到合同簽署現(xiàn)場(chǎng)為他失蹤的兄弟打掩護(hù)。隨著最后期限的臨近，烏爾文斯坦的蠢貨手下們?cè)噲D弄清楚為什么他們的人質(zhì)不斷地在羅西女士家出現(xiàn)...而懵懂的羅西女士則想知道大師唱片公司的總監(jiān)所表現(xiàn)出的性格波動(dòng)。不必?fù)?dān)心，總有一種方法可以將雙胞胎區(qū)分開來...
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鬼租客
納查潘·帕拉瑪查倫羅,Aew Aumpa Phusit,波似·坡尼皮帕特·庫尼嗦,坦恩.基緹男.坎蒙功空理法密昕,馬克·納克塔赫·坎那特桑安,Boom Raweephan Siriwattana一個(gè)破產(chǎn)的平面設(shè)計(jì)師最終租了一個(gè)有著恐怖故事和神秘鄰居的房間。
怪形
庫爾特·拉塞爾,威爾福德·布利姆雷,TK·卡特,大衛(wèi)·科列儂,凱斯·大衛(wèi),理查德·戴薩特,查爾斯·哈拉漢,Peter Maloney,理查德·馬蘇爾,唐納德·莫法特,喬爾·波利斯,托馬斯沃特斯,諾伯特·魏塞爾,拉瑞·弗蘭科,納特·歐文,阿德里安娜·巴比歐,約翰·卡朋特,杰德1982年冬天，挪威科考隊(duì)的一架直升機(jī)突然打破了南極大陸的平靜，直升機(jī)瘋狂的追逐一只雪橇犬，最后墜毀在美國科考營地的附近。美國科考隊(duì)員對(duì)挪威考察隊(duì)近期人員驟減的情況有所耳聞，于是飛行員麥克（Kurt Russell 飾）與眾人趕赴挪威營地，結(jié)果看到的是一地破敗中四處散落著奇怪的尸體，并有證據(jù)表明挪威人得到了某種冰封狀態(tài)中的生物。醫(yī)生布萊爾（Wilford Brimley 飾）研究了尸體的變異卻無法破解成因。當(dāng)晚，犬籠中的狗遭到襲擊并發(fā)生了變異，一種不可知的生物正在這孤寂的南極大陸威脅著科考隊(duì)員們的生命…… 本片翻拍自1951年由霍華德?霍克斯指導(dǎo)的《The Thing From Another World》。
冰球小子
保羅·紐曼,斯特羅瑟·馬丁,邁克爾·昂吉恩,珍妮弗·沃倫,林賽·克洛斯,杰里·豪澤,Andrew Duncan,Jeff Carlson,Steve Carlson,David Hanson,Yvon Barrette,Allan F. Nicholls,布拉德·蘇利文,斯蒂芬·門迪洛,Yvan Ponton,馬修·考爾斯,Kathryn Walker,梅林達(dá)·狄龍,M·埃梅特·沃爾什,斯薇茲·昆茨,Ronald L. Docken,Guido Tenesi,Jean Rosario Tetreault,一名過氣冰上曲棍球教練，在麻州小鎮(zhèn)中領(lǐng)導(dǎo)一隊(duì)二流球隊(duì)輾轉(zhuǎn)作戰(zhàn)，終于在最后一場(chǎng)比賽中挽回他失落的名聲。這是一部拍得相當(dāng)直率粗暴的男性化運(yùn)動(dòng)片，冰上曲棍球的比賽場(chǎng)面經(jīng)常可見互毆和流血鏡頭，加上對(duì)白的"四字經(jīng)"不絕于耳，當(dāng)年首映時(shí)也引起了不少爭(zhēng)論。曾經(jīng)合作過金像獎(jiǎng)電影《刺激：騙中騙》的導(dǎo)演喬治·萊希爾和明星保羅·紐曼，再一次表現(xiàn)出賣力的成績。
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.
毀滅的發(fā)明
盧博爾·托科什,Arnost Navrátil,米羅斯拉夫·霍盧布,弗蘭蒂澤克·斯列格爾,Václav Kyzlink,Jana Zatloukalová,休·唐斯,Frantisek Cerny,奧托·希曼內(nèi)克,Václav TréglAs its title suggests THE FABULOUS WORLD OF JULES VERNE is an awe -inspiring, meticulous cinematic rendering of the aesthetic and conceptual inventions of proto-science fiction genius Jules Verne, based on one of the famed author's lesser known short stories. However, the real star of the film is the intricate art direction, successfully rendering the visual style of nineteenth century woodcuts and engravings into motion pictures, creating a stylized and surreal graphic world within which Verne’s fanciful tale unfolds. A brilliant scientist, Dr. Roche, perches high above a stormy sea, inventing a powerful explosive, when he and his assistant are kidnapped by an evil businessman, Artigas. Taken by submarine to Artigas' volcano headquarters, Roche is tricked into developing his experiment for evil intentions. The scientist’s assistant, Simon, struggles all the while to free himself and warn Roche. A magical world of baroque submarines and sailing ships, killer octopus, undersea bicycles dazzles audiences as human actors, puppetry, animation and fanciful scenic design interact to create a cinematic experience that is unique by any standards. Mixing slapstick comedy, action adventure pacing and Mélies style film magic, this little known Czechoslovakian gem transcends the juvenile literature at its source to create cinematic art of the highest order....
第六感1999
布魯斯·威利斯,海利·喬·奧斯蒙,托妮·科萊特,奧莉維亞·威廉姆斯,唐尼·沃爾伯格,特拉沃·摩根,彼得·安東尼·唐伯蒂斯,格倫·菲茨杰拉德,米莎·巴頓,Lisa Summerour,法爾德斯·巴姆,杰弗里·澤布尼斯麥克（布魯斯·威利斯 飾）是著名兒童心理學(xué)家，卻也有始終未能治愈的患者，甚至因此遭到槍擊，這名少年隨后也飲槍自斃。這給麥克帶來很大心理陰影，一年后他找到另一個(gè)癥狀很像這名患者的男孩柯爾（海利·喬·奧斯蒙 飾），并耐心的做起了他的醫(yī)生。柯爾并不容易接近，但麥克還是慢慢贏得 了他的信任，得知了柯爾的秘密。原來柯爾有著靈異的第六感，可以看到鬼魂。雖然這令人感到難以置信，但麥克在證實(shí)了事情的真相后還是幫助柯爾接受了這個(gè)事實(shí)。可是就在問題即將得到解決的時(shí)候，麥克卻在柯爾的引導(dǎo)下，發(fā)現(xiàn)了一個(gè)更令人震驚的秘密……