比巧克力還甜

舞臺(tái)恐嚇

　　炎炎夏日，一輛輛黃色的校車(chē)載著熱愛(ài)歌唱和舞蹈的青年男女來(lái)到了一處郊外的夏令營(yíng)。孩子們興致勃勃，渴望在這里盡情釋放對(duì)音樂(lè)的熱愛(ài)。今年年輕導(dǎo)演阿特·蓋茨雄心勃勃，決定將十年沒(méi)有排演過(guò)的經(jīng)典名作《歌劇魅影》搬上舞臺(tái)。這一消息，令在廚房幫廚的卡梅拉（艾莉·麥克唐納 Allie MacDonald 飾）和巴迪（道格拉斯·史密斯 Douglas Smith 飾）深受觸動(dòng)。原來(lái)十年前，姐弟倆那身為著名歌劇演員的媽媽在《歌劇魅影》的演出后被人殺害。該事件讓他們封閉了自己，可是卡梅拉無(wú)法抑制心底對(duì)歌唱的渴望，終于她鼓起勇氣報(bào)名參加了女主角索菲婭的遴選。然而伴隨著她走向陽(yáng)光，十年前那個(gè)恐怖惡魔似乎也從沉寂中醒來(lái)……　　本片根據(jù)真實(shí)事件改編。

奧本海默

 當(dāng)我們?yōu)闄?quán)力金錢(qián)焦慮、興奮與憤怒時(shí)，卻根本想象不到“他們”在談?wù)撝鯓痈匾氖虑?。隨著戰(zhàn)爭(zhēng)陰云籠罩世界上空，各國(guó)緊鑼密鼓抓緊軍事競(jìng)賽。為了搶占先機(jī)，美國(guó)陸軍中將萊斯利·格羅夫斯（馬特·達(dá)蒙 Matt Damon 飾）找到量子力學(xué)與核物理學(xué)領(lǐng)域的扛鼎人物羅伯特·奧本海默（基里安·墨菲 Cillian Murphy 飾），力薦其擔(dān)任曼哈頓計(jì)劃的首席科學(xué)家以及洛斯阿拉莫斯國(guó)家實(shí)驗(yàn)室的總負(fù)責(zé)人。經(jīng)過(guò)兩年?duì)幏謯Z秒的研發(fā)，碩大的蘑菇云終于在荒原的上空騰起，也宣告著絞肉機(jī)一般的二戰(zhàn)即將落下帷幕。奧本海默有如將火種帶到人間的普羅米修斯，可是對(duì)人性的參悟和對(duì)未來(lái)的擔(dān)憂(yōu)迫使他走向與政府相悖的道路。更可悲的是，凡人鐘情的物欲也將一世天才裹挾至煉獄之中，永世燃燒……

真理與背叛

　　16歲男孩赫爾穆特·胡貝納 (Helmuth Hübener) 在目睹猶太朋友被納粹逮捕后，與朋友卡爾和魯?shù)辖M建了抵抗組織。他們的勇敢行為使他們面臨納粹德國(guó)最高法院的審判。

有罪，AI如此宣判

新人法官高遠(yuǎn)寺圓（芳根京子飾）每日忙于庭審中的證人詢(xún)問(wèn)、審閱證據(jù)與鑒定報(bào)告、檢索判例以及撰寫(xiě)判決書(shū)等工作。某日，圓被委以重任，負(fù)責(zé)測(cè)試性引入法院的AI系統(tǒng)“法神”。當(dāng)輸入過(guò)往審判數(shù)據(jù)后，“法神”瞬間生成的判決書(shū)與法官苦心撰寫(xiě)的文書(shū)毫無(wú)二致，判決結(jié)果也完全一致。法官們?yōu)楣ぷ餍实娘w躍提升欣喜不已，唯獨(dú)圓對(duì)“法神”始終心存警惕。 　　圓與臨近退休的法官檜葉共同負(fù)責(zé)一宗18歲少年刺殺生父的案件。作為審判長(zhǎng)的檜葉在開(kāi)庭前將數(shù)據(jù)輸入“法神”進(jìn)行判決模擬，AI瞬間給出的判決是“死刑”。 　　對(duì)AI能力深感興趣的檜葉。對(duì)AI愈發(fā)警惕的圓。當(dāng)陪審員們也卷入其中時(shí)，人們?cè)俣戎泵嫣綄ふ嫦嗟钠D難困境。究竟誰(shuí)能辨明真相？是AI？是人類(lèi)？還是??? 　　這部社會(huì)派娛樂(lè)作品直面當(dāng)下以驚人速度滲透社會(huì)的AI技術(shù)，深刻叩問(wèn)使用AI的人類(lèi)應(yīng)有的姿態(tài)！

等待方舟

　　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.

庫(kù)梅爾·南賈尼：夜間思緒