驚天桃色劫

★ 3.7 播放：70萬(wàn) 更新：2026-04-23

Jo Jo仍林龍威助手,協(xié)助在外按洽有病須神醫(yī)診療者,其妹純純是電影公司之演員在拍戲時(shí)因遭男演員假戲真做,柳仍當(dāng)紅小生旁見(jiàn)狀,加以阻止,故得純純好感,純純與柳勇拍戲母徒中作梗反對(duì),多翻反對(duì)都無(wú)法阻止純與勇之婚姻,母因嗜du外輸?shù)羲兄禺a(chǎn)及積蓄,家姐Jo Jo在向男友法師索錢(qián)時(shí),錯(cuò)手令對(duì)方走向死亡之路,純純?cè)谌∩崮赣H及丈夫之間時(shí),前度初戀情人出現(xiàn)令情況復(fù)雜,不幸三角戀劇于此發(fā)生.

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劇情簡(jiǎn)介

Jo Jo仍林龍威助手,協(xié)助在外按洽有病須神醫(yī)診療者,其妹純純是電影公司之演員在拍戲時(shí)因遭男演員假戲真做,柳仍當(dāng)紅小生旁見(jiàn)狀,加以阻止,故得純純好感,純純與柳勇拍戲母徒中作梗反對(duì),多翻反對(duì)都無(wú)法阻止純與勇之婚姻,母因嗜du外輸?shù)羲兄禺a(chǎn)及積蓄,家姐Jo Jo在向男友法師索錢(qián)時(shí),錯(cuò)手令對(duì)方走向死亡之路,純純?cè)谌∩崮赣H及丈夫之間時(shí),前度初戀情人出現(xiàn)令情況復(fù)雜,不幸三角戀劇于此發(fā)生.

導(dǎo)演精選

羞恥惡魔

　　Jack escapes jail and head to New York city to track down an old flame who has disappeared under mysterious circumstances.

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.

暴風(fēng)雨之星

　　Upon arrival to Venus, cosmonauts find furious volcanoes and sundry prehistoric beasts in Klushantev's film, based on a novel by the Soviet sci-fi writer Aleksandr Kazantsev. Footage has been recycled in three Corman productions: Voyage to the Prehistoric Planet, Queen of Blood, and Voyage to the Planet of Prehistoric Women (the directorial debut of Peter Bogdanovich).　　83min