在線看
同款熱播
要是晴天就好了
永野芽郁,芳根京子,萩原利久,江口德子,稻垣吾郎,倍賞美津子,吉行和子,藤間爽子,豐島花,富山繪里子,布施千賀子,高橋努,白本彩奈,宮澤美保本劇改編自自身也有護(hù)士經(jīng)驗(yàn)的藤岡陽子所著同名小說。故事發(fā)生在1945年的菲律賓，穿越時(shí)空的主人公，在戰(zhàn)爭(zhēng)時(shí)期物資匱乏、與死亡相伴的殘酷狀況下，與同伴們一起不失去希望地生活著，通過每天的生活，逐漸找回生存的力量。
著牛仔褲的鐘馗
成奎安,葉蘊(yùn)儀,王小鳳,葉子楣香德祖（成奎安 飾）是一名香港皇家警察，他的老婆（王小鳳 飾）懷孕待產(chǎn)，夫妻二人親密非常。這一日，他們?nèi)メt(yī)院檢查的路上，遭遇一伙銀行劫匪。出于職責(zé)，香拋下妻子奮勇上前追擊。經(jīng)過一番追車和搏斗，香制服歹徒，卻被匪首暗算，致使鋼筋穿胸而死，尸體被埋于亂鐵之中。是夜，一只黑貓?zhí)舷愕纳眢w，剛好猛雷劈下，香竟奇跡般復(fù)蘇，變成活脫脫的僵尸。他復(fù)活后力大無比，但害怕陽光，還需要定期充電。香自知時(shí)日無多，決定對(duì)妻子隱瞞這個(gè)秘密，并將銀行劫匪繩之以法?！ ×硪环矫?，匪徒當(dāng)初逃跑時(shí)劫持少女Gucci（葉蘊(yùn)儀 飾）為人質(zhì)，混亂中Gucci拿著裝錢的箱子逃跑。憤怒的劫匪四下尋找Gucci，當(dāng)他們得知香還在人間之時(shí)，一番正邪大戰(zhàn)在所難免……
最后一槍2025
Lham Somphol Rungphanit,薩里卡·塞思蘇帕,帕塔納·埃桑固Petch想擺脫殺手生涯，但逃離過去談何容易？在愛情、忠誠(chéng)與復(fù)仇之間掙扎，他被迫接下最后一單。每一槍響起，賭注都在升級(jí)。他的未來與自由，全系于最后一顆子彈。 “終極任務(wù)，致命一槍，無路可退?！?/p>
殺出銀河系
Edward Albert星際聯(lián)盟收到探索飛船發(fā)出的求救信號(hào)后立刻派遣星際精英特種小組前去營(yíng)救，由于機(jī)器故障飛船迫降到那個(gè)荒蕪且怪異的星球上。不久后，船員在星球上發(fā)現(xiàn)了那艘廢棄的飛船，但里面的飛行員都莫名其妙的死去，為了防止尸體異變，他們決定把尸體全部銷毀。隨后船員們發(fā)現(xiàn)了金字塔般的巨大建筑物，然而噩夢(mèng)從此開始，他們釋放了金字塔中所有的嗜血星際怪獸，星球瞬間被恐怖包圍，喪尸怪獸一并向人們襲來，他們?cè)撊绾瓮炀茸约骸?（此片精彩的沒話說，星球大戰(zhàn)般的場(chǎng)景加異型的特效以及著名的cult片演員們齊聚在一塊所產(chǎn)生的名詞是什么？那就是經(jīng)典~！ 這部B級(jí)片的經(jīng)典程度已經(jīng)影響到未來科幻恐怖電影的發(fā)展前途，像黑洞表面之類的電影就是對(duì)其進(jìn)行無恥的抄襲。影片甚至影響了*本成人動(dòng)漫的一個(gè)類型，那就是觸手系漫畫~片中有經(jīng)典的蠕蟲強(qiáng)*金發(fā)奶霸的震撼鏡頭，這就是八十年代恐怖片的魅力……）
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.
請(qǐng)以你的名字呼喚我
艾米·漢莫,提莫西·查拉梅,邁克爾·斯圖巴,阿蜜拉·卡薩,艾斯特·加瑞爾,維克圖瓦爾·杜布瓦,旺妲·卡布里奧羅,安東尼奧·里莫爾迪,埃琳娜·布奇,馬可·斯格羅索,安德烈·艾席蒙,彼得·斯皮爾斯故事發(fā)生在八十年代的意大利里維埃拉，每年夏天，十七歲的少年艾力奧（提莫西·查拉梅 Timothée Chalamet 飾）都會(huì)跟家人一起來此地度假。今年，和他們共享假日時(shí)光的，還有來自美國(guó)的奧利弗（艾米·漢莫 Armie Hammer 飾），高大英俊熱情開朗的奧利弗很快就獲得了艾力奧一家人的喜愛。隨著時(shí)間的推移，艾力奧和奧利弗之間漸漸產(chǎn)生了致命的吸引力，但性別和年齡的桎梏讓他們遲遲無法跨出那關(guān)鍵的一步，與此同時(shí)，單純善良的少女馬奇婭（艾斯特·加萊爾 Esther Garrel 飾）也向艾力奧奉獻(xiàn)著自己的感情和身體。最終，洶涌的激情沖破了艾力奧和奧利弗之間的防線，兩人開始了一段注定不會(huì)有結(jié)果的戀情。