即刻觀影
劇情賞析
編輯推薦
兇兆前傳
尼爾·泰格·弗莉,托菲克·巴霍姆,索尼婭·布拉加,拉爾夫·伊內(nèi)森,比爾·奈伊,米婭·麥戈文·扎伊尼,安東·亞歷山大,安德烈·阿坎杰利,瑪麗亞·卡巴雷諾,阿萊西亞·博納奇,伊什塔爾·柯里-威爾遜,彼得·阿佩塞拉,西爾維婭·帕納喬內(nèi),馬里奧·歐普特,阿德里亞諾·阿拉貢,多納泰拉·巴托麗一名年輕美國(guó)女子被派往羅馬、展開服侍教會(huì)的人生，卻接觸到了令她質(zhì)疑信仰的黑暗力量，并揭露惡魔轉(zhuǎn)世的可怕陰謀。
鄰居的窗
瑪麗亞·迪齊亞,格雷格·凱勒,Juliana Canfield短片講述了一個(gè)帶著三個(gè)孩子的母親，因?yàn)槿粘Ｉ詈驼煞蛳萑刖趩?。而這時(shí)，她發(fā)現(xiàn)自己可以通過窗戶看到住在對(duì)面鄰居的生活...
妃子笑
蕭正楠,黃婉伶,黃婉君,陳逸寧,戴夢(mèng)夢(mèng),朱咪咪,李兆基,江欣燕,梅小惠,謝雪心,楊羚,李思捷,王嘉明弘治七年，皇上在全國(guó)范圍內(nèi)大選妃子。來在同村的兩位少女鴛鴦（黃婉君 飾）和朱朱（黃婉伶 飾）相助于危險(xiǎn)的夜路，遂互稱姐妹，共赴皇宮?！ ?duì)于少女們來說，如果成功當(dāng)選皇妃，無(wú)論富貴貧賤都可飛上枝頭當(dāng)鳳凰，自然競(jìng)爭(zhēng)激烈，條件也很苛刻。不光自身?xiàng)l件要好，還要經(jīng)過嚴(yán)格的培訓(xùn)與層層考試。但更加殘酷其實(shí)是她們各自之間的勾心斗角、爾虞我詐?！ ∶鎸?duì)種種的困難與危險(xiǎn)，鴛鴦與珠珠能否闖過難關(guān)？而面對(duì)這殘酷的競(jìng)爭(zhēng)，她們的友情是否會(huì)改變呢？
學(xué)前班
喬什·杜哈明,查麗蒂·維克菲爾德,詹姆斯·科茲莫,安東尼婭·托馬斯,邁克爾·索恰,費(fèi)奈拉·伍爾加兩位堅(jiān)定的父親展開一場(chǎng)滑稽的爭(zhēng)奪，爭(zhēng)奪讓孩子進(jìn)入一所精英幼兒園，最終升級(jí)為一場(chǎng)荒誕的競(jìng)爭(zhēng)，結(jié)果出乎意料。
半身死靈2
巖田小百合,仲村美羽,長(zhǎng)宗我部陽(yáng)子,松島初音,真知里沙,山本彩乃,朝倉(cāng)蜜柑,安藤成子,水木薫,川上洋一郎,大島優(yōu)子經(jīng)歷了最可怕的一段過去，可奈（大島優(yōu)子 飾）已經(jīng)精神接近崩潰，殘酷命運(yùn)的安排，讓她最終也無(wú)法逃脫半身死靈“嗒卡嗒卡”的獵殺。路過事故現(xiàn)場(chǎng)的水谷菜月和中島玲子是就讀同一所高中同一班級(jí)的好友，她們的學(xué)校即將舉行文化祭。擔(dān)任文化祭委員的玲子無(wú)意中觸怒了班內(nèi)小集團(tuán)的頭頭刀根繪梨香，由此遭受了無(wú)休無(wú)止的孤立和欺凌。菜月看在眼里，卻不敢組織，只能隨波逐流。終于有一天，再也無(wú)法忍受的玲子將希望寄托在半身死靈身上，她將與繪梨香親近的同學(xué)相繼騙到人行天橋，目睹她們被獵殺的殘忍一幕。 菜月終于發(fā)現(xiàn)了好友的秘密，她嘗試阻止，并且了解到半身死靈的背景和不為人知的過去，可是為時(shí)已晚……
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.