即刻觀影
劇情賞析
編輯推薦
哈文赫特死亡公寓
Julie Benz,Fionnula Flanagan,Belle Shouse一個(gè)女人，她的一個(gè)好朋友住進(jìn)了哈文赫特公寓就再也沒(méi)有消息，然后杰奎琳住進(jìn)這棟公寓進(jìn)行調(diào)查，卻發(fā)現(xiàn)了這棟公寓的不為人知的歷史.....
再見十八班
柯焱曦,熊婧文,秦海梧桐中學(xué)高二十八班是遠(yuǎn)近聞名的問(wèn)題班級(jí)，后進(jìn)生、藝術(shù)生、體育生、不良少年聚集在此，以宋宸（柯焱曦 飾）為首的男生幫派和以秦淼淼（熊婧文 飾）為首的女生幫派互相不服，班級(jí)混亂無(wú)序。一天，高二十八班收到了一封信，這封信自稱是由一年后的他們集體寄來(lái)。信上說(shuō)，即將調(diào)來(lái)的班主任譚 睿明（秦海 飾）會(huì)改變十八班，成為對(duì)他們最重要的人。然而在一年后的未來(lái)，譚老師卻永遠(yuǎn)地離開了他們。為了實(shí)現(xiàn)一段沒(méi)有遺憾的青春，扭轉(zhuǎn)歷史，少年們決定按照信上所說(shuō)，挑戰(zhàn)一個(gè)個(gè)不可能實(shí)現(xiàn)的任務(wù)...
困惑的浪漫2
Monika M. , Mark Reeder , Lena Braun因丟失尸體和愛(ài)人，羅伯特（Daktari Lorenz 飾）在絕望中以極其慘烈的方式自殺身亡。然而他的尸體并未因此得到寧?kù)o，仿佛命中注定一般，才被葬入黃土不久的羅伯特又被妙齡女郎莫妮卡（Monika M. 飾）挖了出來(lái)。莫妮卡和羅伯特一樣，對(duì)死尸有著深深的迷戀，她和死去的羅伯特仿佛愛(ài)人似的生活在一起。 某晚，莫妮卡在電影院門口邂逅馬克（Mark Reeder 飾），兩人隨即開始交往。看似浪漫的愛(ài)情雖然讓莫妮卡一度想要改掉怪異的愛(ài)好，但她仍然無(wú)法接受愛(ài)情的索然無(wú)味。直到某天，馬克發(fā)現(xiàn)了女友的秘密，他們的關(guān)系開始朝著不可預(yù)測(cè)的方向發(fā)展……
異形怪胎 2
Michele Greene,Robin Curtis,Scott Valentine一個(gè)邪惡的生育實(shí)驗(yàn)創(chuàng)造了一代扭曲的孩子。 一個(gè)無(wú)情的女人在破壞這些突變的嬰兒之前已經(jīng)做好了這件事，摧毀了這個(gè)世界！ 一個(gè)母親和她唯一的朋友在愛(ài)之間被撕毀了這個(gè)變形的人的排斥，并準(zhǔn)備為了生存而戰(zhàn)，但這個(gè)寶寶不需要愛(ài)。 它被編程為不惜一切代價(jià)生存。
尸油降
卡文·英瑪諾泰,Supawadee Kitisopakul,??????? ????????????阿坤（卡文英瑪諾泰 飾）是個(gè)孤兒，由村里強(qiáng)大的薩滿萊穆養(yǎng)大。他受雇驅(qū)魔，卻偷偷進(jìn)行黑魔法儀式，想提煉尸油賺錢迎娶心愛(ài)的女孩蘇伊，沒(méi)想到這觸怒了鬼魂、招致報(bào)復(fù)。此時(shí)蘇伊恰巧來(lái)找他，究竟阿坤能否以所學(xué)和信仰幫助自己和身邊的人死里逃生？
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.