鴨王2：雞同鴨戀

1.8 播放：28萬(wàn) 2026-05-03

武俠軍旅

何巨峯(何浩文飾),一代鴨王,做過(guò)歌手、明星?，F(xiàn)在很少人叫他做鴨王,多數(shù)叫他做峯哥,更收入室徒弟 Dick(林子善飾) 。在一次游艇派對(duì)上,峯巧遇第一次參加的電視臺(tái)三四線姐仔 Monica (文凱玲 Connie 飾)。Monica 突然家中有急事,要立刻回去,峯幫忙用水上電單車帶 Monica 回岸,Monica 感激而且對(duì)峯有好印象。Monica 回家後得知母親病情嚴(yán)重,需要一大筆錢做手術(shù),只好聽(tīng)從好姐妹 Sushi(鍾采羲 Iris 飾)勸而處女下海。Monica 第一個(gè)客人就是上次游艇派對(duì)的搞手龍少(梁焯滿飾)?？上onica 保守古老,龍少事後還唱衰 Monica,令她沒(méi)有客路。Monica 決定向鴨王拜師學(xué)做雞,更開(kāi)始對(duì)峯動(dòng)了真感情。但峯其實(shí)一直有一個(gè)秘密女伴 Isabel (林莉嫻飾),峯是第一個(gè)令 Isabel 有高潮的男人。雖然互相愛(ài)著對(duì)方,但二人有協(xié)議,Isabel 結(jié)婚後,不再往來(lái)。Monica 學(xué)滿師後接客,但心還是鍾情師父峯哥。Isabel 婚禮當(dāng)天,Monica 主動(dòng)和峯做愛(ài),二人關(guān)系由師徒變情侶。另一邊,Monica 好姐妹 Sushi 想和情人 Dick 買樓,決定接受變態(tài)富豪大 Deal 哥 (何華超飾)和妻子 Mona (梁敏儀飾)的 4P 聚會(huì),卻雙雙被虐待致死。Monica 與峯決定和二人報(bào)仇,Monica 勾引大 Deal 哥,成功替二人報(bào)仇。峯決定放棄一切,與 Monica 到外國(guó),不再回來(lái)這是非地?？上?Isabel的丈夫發(fā)現(xiàn)峯與 Isabel 的關(guān)系,在 Monica 幻想著與峯將會(huì)過(guò)著幸福日子時(shí),峯卻處身危險(xiǎn)之地...

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領(lǐng)養(yǎng)驚魂

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　　史蒂芬（瑞恩·菲利普）與莎倫（蕾切爾·李費(fèi)佛）來(lái)到波多黎各，打算接走通過(guò)中介收養(yǎng)的海地小女孩妮娜。他們?cè)诼灭^結(jié)識(shí)了穿著防風(fēng)衣，頭發(fā)亂糟糟的本杰明（庫(kù)薩克）。六萬(wàn)元的費(fèi)用付出手，妮娜卻突然失蹤，領(lǐng)養(yǎng)中介的工作人員不翼而飛，網(wǎng)站也無(wú)法打開(kāi)……　　當(dāng)?shù)鼐旄嬖V他們，兩人是中了釣魚(yú)詐騙的圈套，以收養(yǎng)孩子為誘餌，拿到收養(yǎng)費(fèi)后就把孩子帶走，再去尋找下一個(gè)受害人。然而夫婦倆的厄運(yùn)還沒(méi)完，本杰明似乎是看準(zhǔn)了兩人是條大魚(yú)，把他們監(jiān)禁起來(lái)，要榨光他們所有的積蓄。

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.