即刻觀影
劇情賞析
編輯推薦
周二謀殺定律
亞歷克斯·加西亞,茵瑪·奎斯塔,阿娜·瓦格納,卡拉·坎普拉,貝倫·洛佩茲,戈爾卡·萊斯奧薩,Mia Zafra,Carmen Ruiz,Xavi Lite,保羅·皮雷,貝爾·蒙特羅,Saida Benzal,阿德里亞諾·卡瓦略,路易莎·加瓦薩,拉克爾·佩雷斯,Romeu Runa,Elsa Galv?o,佩德羅·卡薩布蘭科,Tiago Sarmento,Marga Arnau一群有組織地前往里斯本的游客在第一天早上其中一人被殺后，發(fā)現(xiàn)自己正在調(diào)查一起謀殺案。當(dāng)他們參觀美麗的里斯本景點時，開始在人群中尋找兇手。
戒靈
顧泓淵身負(fù)儲物戒指枷鎖，偽裝廢柴在云道峰隱忍修煉。被迫指導(dǎo)小師妹唐檸，卻意外卷入秘境之爭。玄天派結(jié)盟白黎、語笙，為靈石與混元契踏入險地。秘境中智破八門金鎖陣，助唐檸領(lǐng)劍意。面對復(fù)蘇的狂暴白澤，他打破戒指枷鎖突破元嬰，與師兄漠儒楓合力將其封印。攜混元契歸來后穩(wěn)固修為，眼神暗藏鋒芒，新的冒險已然開啟，而壁畫深處滲出的黑暗氣息，預(yù)示著更大危機正在醞釀
舉起手來2：追擊阿多丸號
潘長江,郭達,劉小微1945年，第二次世界大戰(zhàn)接近尾聲，軸心國已成強弩之末，敗局已定。許多戰(zhàn)爭中被俘虜?shù)娜毡臼勘?jīng)過改造后，陸續(xù)踏上回國的旅途，這其中便包括羅圈腿中村下等兵（潘長江 飾）。然而，即使在這垂死關(guān)頭，帝國主義的貪婪仍舊沒有收斂。輪椅太君（胡曉光 飾）傷愈出院，親自負(fù)責(zé)指揮戰(zhàn)艦阿多丸運送傷兵回國的重任，但是阿多丸還有一個秘密任務(wù)，那就是將從中國劫掠來的文物偷運出境。這個秘密被小劉（劉小微 飾）的父親——一個文物老專家所得知，他掌握著所有文物的清單，也因此遭到日寇的追殺。臨死之際，老教授將藏有清單的可樂瓶交給擔(dān)任聯(lián)絡(luò)員的郭大叔（郭達 飾）。偵知到日本人的陰謀，八路軍以及重慶方面的勢力都行動起來?！ 《谶@一過程中，更大的陰謀也悄悄浮出水面……
跨國銀行
克里夫·歐文,娜奧米·沃茨,阿明·繆勒-斯塔爾,烏爾里奇·湯姆森,布萊恩·F·奧博恩規(guī)模龐大幾乎盤踞全球的跨國銀行IBBC在這個錢權(quán)主宰的社會里簡直無所不能，它不僅操控著各國經(jīng)濟，牽制著政府的決策，甚至參與洗錢、販賣軍火、勒索綁架等各種黑道行動，它就像一只大章魚將觸角伸向黑夜的每個角落。國際刑警路易斯·塞林格（克里夫·歐文 Clive Owen 飾）目睹同事因企圖泄露銀行機密而遭遇暗殺，他決意受命前往柏林徹查IBBC洗錢內(nèi)幕，得益于另一位正義者副檢察官埃莉諾·惠特曼（娜奧米·沃茨 Naomi Watts 飾）的同行協(xié)助，兩人很快發(fā)現(xiàn)了跨國銀行更多鮮為人知的非法活動，甚至包括資助恐怖分子和發(fā)動戰(zhàn)爭。兩人決心揭露跨國銀行的真實面目，然而，無所不知的IBBC早已注意到這兩只螻蟻，殺手隨即派到，路易斯和埃莉諾最終能否贏得這場螳臂當(dāng)車的生死周璇？
頂級陰謀
Anders W. Berthelsen,Maria Bonnevie,Ghita N?rby,Henning Jensen,Lars Mikkelsen托馬斯的妹妹在一次事故中神秘死去，而妹妹的死亡很可能與他們過世父親參加的一項秘密軍事研究有關(guān)。托馬斯隨即展開了調(diào)查，不料卻讓自己和家人都陷入了極大的危險之中。一伙不明身份的人開始對他們展開了天羅地網(wǎng)式的監(jiān)察。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,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·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.