愛(ài)之島

為了考驗(yàn)自己的極限，莎夏（查理茲·塞隆 飾）深入偏僻無(wú)情的澳洲荒野，卻發(fā)覺(jué)自己不只必須在嚴(yán)苛環(huán)境中奮勇求生，還得對(duì)抗一名殘忍又危險(xiǎn)的惡徒（塔倫·埃哲頓 飾）。

　　不敢相信！浪蕩不羈的瓦雷斯終于要結(jié)婚了，但是在婚禮上，瓦雷斯突然接到伴郎「解毒劑」的緊急來(lái)電，對(duì)方被幫派份子嚴(yán)刑拷打，需要他的救援。當(dāng)他深入毒窟營(yíng)救老友的同時(shí)，他新婚妻子的女兒被綁架了。瓦雷斯第一天當(dāng)爸爸，就出大事了，為了營(yíng)救繼女，瓦雷斯被迫參與一場(chǎng)神秘詭譎的性愛(ài)邪教聚會(huì)，他分秒必爭(zhēng)，必須搶在犯罪集團(tuán)之前，拯救他所愛(ài)的人保護(hù)他的新家人。

　　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.

 電影改編自1957年的百老匯音樂(lè)劇，講述了20世紀(jì)50年代紐約街頭的“噴氣機(jī)幫(Jet)”和 “鯊魚(yú)幫(Sharks)”之間的爭(zhēng)斗，以及分屬不同幫派的“苦命鴛鴦”托尼（安塞爾·埃爾格特 飾）和瑪麗亞（瑞秋·齊格勒 飾）的愛(ài)情。