即刻觀影
劇情賞析
編輯推薦
愛情鳥的自救
庫(kù)梅爾·南賈尼,伊薩·雷,安娜·坎普,保羅·斯帕克斯,凱爾·柏海莫,喬·克里斯特,布萊恩·克恩,莫西斯·斯托姆,賈倫·米切爾,T·C·馬特恩,格拉倫·布萊恩特·班克斯,尼古拉斯·帕森斯,安東尼·邁克爾·弗雷德里克,韋米蒂婭·埃拉恩,萊斯利·卡斯泰,Kenneth Kynt Bryan,Catherine Cohen,Kelly Murtagh,Andrene Ward-Hammond一對(duì)情侶（伊薩·雷和庫(kù)梅爾·南賈尼飾）正在互訴衷腸，結(jié)果被無(wú)意中卷入了一場(chǎng)謀殺迷局。洗刷罪名的過程極端又滑稽，他們必須挺過這一夜，以保住兩人的戀情和性命。
極樂
歐文·威爾遜,薩爾瑪·海耶克,瑪?shù)铝铡て娆?內(nèi)斯塔·庫(kù)珀,喬舒華·萊納德,小豪爾赫·蘭登伯格,錢信伊,德龍·霍頓,史蒂夫·齊西斯,梅西·麥克利,凱蒂·麥克凱布,Debbie Fan,Erin Flannery,凱拉·亞當(dāng)斯,Megan Le,達(dá)林·庫(kù)珀,克里斯托弗·艾伯,斯科特·道格拉斯麥·克拉克倫故事講述剛離婚不久的格雷格(威爾遜飾)遇到了迷人的伊莎貝爾(海耶克飾)。伊莎貝爾住在大街上，認(rèn)為這個(gè)被污染、破敗不堪的世界并不是真實(shí)的。她相信這個(gè)丑陋的世界是在一個(gè)美麗、和平、“真實(shí)”的極樂世界的內(nèi)部。起初格雷格表示懷疑，但他最終發(fā)現(xiàn)這個(gè)理論很有道理。
九龍挎刀去白馬
羅立群,黃濤一把刀守一個(gè)信念，老兵從九龍鎮(zhèn)殺向白馬關(guān)，冒死押送之路步步藏殺機(jī)。絕境中他背水一戰(zhàn)，縱敵人環(huán)伺，仍以諾言為重，且看其如何突出重圍！
孤獨(dú)犯罪狂
布倫娜·斯卡爾斯基,伊恩·賴爾·邁克爾斯,大衛(wèi)·赫特當(dāng)一位孤獨(dú)的真正犯罪迷遇到她最喜歡的播客主持人時(shí)，浪漫擦出了火花，但事情很快變得奇怪，因?yàn)樗麑?duì)她的迷戀變成了癡迷，而他最新的劇集似乎圍繞著她最終的謀殺展開。
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.
爵士之王
保羅·惠特曼,約翰·博爾斯,勞拉·拉普蘭特,珍妮特·洛夫,格倫·特萊昂,William Kent,斯利姆·薩默維爾,The Rhythm Boys,凱瑟琳·克勞福德,卡拉·萊姆勒,Stanley Smith,George Chiles,Jack White,Frank Leslie,沃爾特·布倫南,Churchill Ross,約翰·阿利奇,內(nèi)爾·歐黛,Harry Barris,Bobbe Brox,Kathlyn Brox,Lorraine Brox,André Cheron,平·克勞斯貝,杰克·富爾頓這部在歌舞片發(fā)展早期拍攝的影片，堪稱是當(dāng)時(shí)最為奢華的好萊塢巨制。影片由后來(lái)被譽(yù)為“爵士之王”的保羅·懷特曼領(lǐng)銜主演，還請(qǐng)到了一眾歌舞名手。片中的內(nèi)容取自百老匯的經(jīng)典演出，通過名家和管弦樂隊(duì)的出色演繹，為觀眾感受爵士年代風(fēng)情提供了一次珍貴的機(jī)會(huì)。影片在當(dāng)年獲得了奧斯卡最佳藝術(shù)指導(dǎo)獎(jiǎng)。2013年，它還被美國(guó)國(guó)會(huì)圖書館列入國(guó)家電影目錄。