劇情簡(jiǎn)介
別名：情迷香港 浩欲在香港闖一番事業(yè),于是帶同妻子蓮及小倩來(lái)港,投靠多年好友坤，坤帶浩三人見(jiàn)天哥，天見(jiàn)蓮及倩姿色，欲想一箭雙雕。天利用金錢引誘，小倩因貪慕虛榮，獻(xiàn)身于天，但蓮不為所動(dòng)。天迫坤帶蓮到別墅，欲強(qiáng)暴蓮，蓮為保清白，跳樓重傷。浩見(jiàn)殘廢妻子，徑與坤找天報(bào)仇，二人慘被擊殺，倩孤身無(wú)助，找天對(duì)頭七叔，作出最后一個(gè)犧牲，以肉體作為她報(bào)仇之代價(jià)
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后座
哈利·米爾林,亞歷山大·斯卡斯加德,道格拉斯·霍奇,萊斯利·夏普,安東尼·威爾士,杰克·謝爾斯,Miranda Bell,比利·金,Rosie Sheehy,Stevie Raine,喬治婭·赫利爾,杰克·夏普,Michael 'Mike' Jones,尼克·菲吉斯,卡夫奇奇·米哈,保羅·塔利斯,Kevin Bazeley,Christina Carty,扎米爾·梅斯蒂,Jacob Carter弱不禁風(fēng)的男子Colin（哈利·米爾林 Harry Melling 飾）遇上英俊無(wú)比的摩托車俱樂(lè)部首領(lǐng)Ray（亞歷山大·斯卡斯加德 Alexander Skarsg?rd 飾），Ray將Colin收為他的submissive，并帶他走近一群古怪的酷兒摩托車手，過(guò)程中各種收割童貞。但隨著Colin深入Ray的那個(gè)充滿規(guī)則和神秘的世界，他開(kāi)始質(zhì)疑自己是否真正適合這種當(dāng)全天候submissive的生活。他是真的找到了自己的使命，還是僅僅用一種“窒息”的人生換了另一種？
荒漠惡種
凱特·林恩·希爾,斯科特·黑茲,Alex Montaldo一名男子在加利福尼亞沙漠徒步旅行時(shí)，發(fā)現(xiàn)自己的車不見(jiàn)了。當(dāng)他四處尋找時(shí)，他跟著一個(gè)流浪的男孩，最終來(lái)到了一個(gè)年輕女子占據(jù)的偏遠(yuǎn)小屋。兩人之間發(fā)生了一種奇怪的動(dòng)態(tài)，伴隨著幾次與威脅女孩的男孩的暴力沖突。當(dāng)這個(gè)男人意識(shí)到他掉進(jìn)了一個(gè)精心設(shè)計(jì)的陷阱時(shí)，想要避免他將要遭受的可怕后果已經(jīng)太晚了?！斗N子》是作家兼導(dǎo)演巴納比·克萊的一部大膽、噩夢(mèng)般的處女作，他的著名mv作品包括Gnarls Barkley的歌曲、“YYYs”等。這部慢熱的震撼劇講述了有毒的男子氣概和我們對(duì)孤立的恐懼，它有效地呈現(xiàn)了一個(gè)男人在面對(duì)絕望和生存之戰(zhàn)時(shí)心理的惡化。作為新人，巴納比·克萊是一位不可忽視的導(dǎo)演。(南宗錫)
婚禮上我們討厭的人
艾莉森·珍妮,辛希亞·阿戴-羅賓森,克里斯汀·貝爾,本·普拉特,托尼·戈德溫,約翰·麥克米蘭,喬瑪·塔科內(nèi),達(dá)斯汀·米利甘,朱利安·歐文登,卡蘭·索尼,杰克森·戈登伯格,伊薩赫·德·班克爾,魯弗斯·瓊斯,喬尼·韋爾登,里奇·基伯,Lesley Ewen,艾瑪·戴維斯,羅布·豪森,里查·普拉卡什,勞倫斯·拉塞爾,皮埃爾·伯格曼,安德魯·G·奧格爾比,杰寧·哈瑞妮,阿德南·昆迪,Michelle Thomas,斯圖爾特·惠蘭,Davina Moon艾莉森·珍妮、安妮·墨菲(《富家窮路》)、本·普拉特將主演婚禮喜劇[婚禮上我們討厭的人](The People We Hate at the Wedding，暫譯)。該片由克萊爾·斯坎倫(《初來(lái)乍到》)執(zhí)導(dǎo)，《開(kāi)心漢堡店》第二季編劇Lizzie molyneux-logelin、溫迪·莫里紐克斯共同操刀劇本。該片根據(jù)格蘭特·金德撰寫(xiě)的同名小說(shuō)改編，有望成為另一個(gè)[四個(gè)婚禮和一個(gè)葬禮]。故事講述一個(gè)不太和睦的家庭，因?yàn)橐粓?chǎng)婚禮被迫相聚，他們過(guò)去的隔閡一點(diǎn)點(diǎn)被放大，這些也正是這個(gè)家庭在重歸于好的路上需要解決的問(wèn)題。
狂野時(shí)代
易烊千璽,舒淇,趙又廷,李庚希,黃覺(jué),陳永忠,郭沐橙,張志堅(jiān),曾美慧孜,閆楠影片講述“迷魂者”（易烊千璽 飾）通過(guò)體驗(yàn)視覺(jué)、聽(tīng)覺(jué)、味覺(jué)、嗅覺(jué)、觸覺(jué)五感，跨越一個(gè)世紀(jì)的故事。而“大她者”（舒淇 飾）則好似是打開(kāi)“迷魂者”故事的鑰匙......
博格曼
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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.