可疑的美容院
兩個(gè)漂亮好姐妹合伙開發(fā)廊店。平時(shí)生意冷淡,只好雙腿夾著枕頭,打盹做春夢(mèng),并脫下內(nèi)褲自慰著....。為了招來客人,她們決定將裙子拉高點(diǎn),露出褻褲,低胸前擠一擠,露出乳房,任客人撫摸玩弄,為所欲為。暫無內(nèi)容她們用自己的肉體本錢,嬌麗臉蛋,配合兩人奶大臀凸的阿娜身材,作為引誘客人工具,這是多麼美好主意。當(dāng)然瞬時(shí)招蜂引蝶,賓客滿座,許多好色男子來剪發(fā),任其摸臀吻乳的輕薄,沒關(guān)系,那是多麼快活快感,連沒頭發(fā)的凸頭男子,也趕著來剪發(fā)。暫無內(nèi)容她們相信,只要抓住男人的心,給他們爽快性滿足,就能發(fā)大財(cái)。此時(shí),她們遇到兩兄弟,他們長(zhǎng)相英俊,是公司部長(zhǎng)老板,但個(gè)性迥異。發(fā)姐兩人極力投懷送抱,獻(xiàn)身性愛,兩兄弟是是她們生財(cái)救星,或是一場(chǎng)奇妙空幻春夢(mèng)....
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魯克·高斯,博基姆·伍德拜因,路易·曼迪勒,馬克·可汗,萊昂納德·凱利-揚(yáng),海瑟·洛普,布魯克·紐頓,羅伯特·菲茨杰拉德·迪格斯,雷弗·甘特沃特一個(gè)手握政府機(jī)密的AWOL海軍成員正被俄國(guó)特工和一個(gè)危險(xiǎn)的殺手追緝
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.