即刻觀影
劇情賞析
編輯推薦
玩偶屋
羅伯塔·科林斯,帕姆·格里爾,Judith Brown,Brooke Mills,Pat Woodell科林（Judith M. Brown 飾）遭到了謀殺的指控，被關(guān)入了位于菲律賓的監(jiān)獄里，等待著她的，是長達(dá)20年的牢獄之災(zāi)。人高馬大的格利爾（帕姆·格里爾 Pam Grier 飾）是監(jiān)獄里的大姐大，她一眼就相中了與眾不同的科林，想要逼迫她委身于自己，但個(gè)性倔強(qiáng)的科林怎么可能就范，在反抗格利爾的過程中，科林和名叫邦妮（帕特·伍德爾 Pat Woodell 飾）的女囚成為了朋友。 某日，科林被女警官帶走了，她打算通過刑訊逼供的方式迫使科林承認(rèn)自己沒有犯過的罪行。焦急的邦妮找到了聰明伶俐的阿爾科特（羅伯塔·科林斯 Roberta Collins 飾），兩人決定聯(lián)手進(jìn)行救援行動(dòng)。
詩人2025
烏貝馬爾·里奧斯,蕾韋卡·安德拉德,吉列爾莫·卡多納,阿利森·科雷亞,翁貝托·雷斯特雷波,瑪格麗塔·索托中年詩人奧斯卡·雷斯特雷波沉迷于詩歌，卻始終未獲認(rèn)可。他孤僻而失落，活成了“被遺忘的詩人”典型。一次偶然的邂逅，他結(jié)識(shí)了出身貧寒的少女尤拉迪，并試圖引導(dǎo)她走上創(chuàng)作之路。隨著兩人關(guān)系的深入，奧斯卡將她帶入詩人世界，卻也讓她面臨理想與現(xiàn)實(shí)的沖突。
猶大與黑彌賽亞
丹尼爾·卡盧亞,勒凱斯·斯坦菲爾德,杰西·普萊蒙,多米尼克·菲什巴克,艾什頓·桑德斯,阿爾吉·史密斯,達(dá)里爾·布里特-吉布森,里爾·萊爾·哈瓦瑞,多米妮克·索恩,馬丁·辛,阿馬里·切托姆,克里斯·戴維斯,伊恩·達(dá)夫,卡勒布·埃伯哈特,羅伯特·朗斯特里特,湯米·拉菲特,特雷勒·希爾,齊納·薩維爾斯,邁克爾·哈瑞蒂,邁克爾·博諾莫,布萊恩·鮑曼,杰梅因·福勒,洛根·弗萊,泰拉·喬伊·史密斯影片改編自真人真事。講述了1960年代美國黑人社團(tuán)黑豹黨歷史上的真實(shí)事件，故事聚焦于Hampton之死，他于1969年被殺，死于芝加哥警察局和FBI組織的一次突襲行動(dòng)。警方開了80槍，而“黑豹黨”成員一共只開了一槍，這一槍還是來自于一位成員被警方打死后的肌肉收縮。Hampton與懷孕的未婚妻正在睡覺時(shí)，頭部被近距離射殺2槍，他當(dāng)晚被下了藥，根本沒聽見任何警方的動(dòng)靜，死后尸體被拖進(jìn)小巷中，年僅21歲。經(jīng)過審訊，他的死被判定為“正當(dāng)殺人”，后來在1982年，以185萬美元的賠償數(shù)額，達(dá)到了民事訴訟的庭外和解。
極樂
歐文·威爾遜,薩爾瑪·海耶克,瑪?shù)铝铡て娆?內(nèi)斯塔·庫珀,喬舒華·萊納德,小豪爾赫·蘭登伯格,錢信伊,德龍·霍頓,史蒂夫·齊西斯,梅西·麥克利,凱蒂·麥克凱布,Debbie Fan,Erin Flannery,凱拉·亞當(dāng)斯,Megan Le,達(dá)林·庫珀,克里斯托弗·艾伯,斯科特·道格拉斯麥·克拉克倫故事講述剛離婚不久的格雷格(威爾遜飾)遇到了迷人的伊莎貝爾(海耶克飾)。伊莎貝爾住在大街上，認(rèn)為這個(gè)被污染、破敗不堪的世界并不是真實(shí)的。她相信這個(gè)丑陋的世界是在一個(gè)美麗、和平、“真實(shí)”的極樂世界的內(nèi)部。起初格雷格表示懷疑，但他最終發(fā)現(xiàn)這個(gè)理論很有道理。
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.
裂口女
佐藤江梨子,加藤晴彥,水野美紀(jì),川合千春20世紀(jì)70年代，在日本中小學(xué)生中間流傳著這樣一個(gè)恐怖的傳說：放學(xué)獨(dú)自走到公園附近時(shí)，會(huì)遇到一個(gè)帶著白色口罩、穿紅色風(fēng)衣的女人。遇到路過者，她會(huì)摘下口罩，露出裂到耳朵的恐怖大嘴，問對(duì)方“我漂亮嗎？”如回答不漂亮，她會(huì)將對(duì)方毀容；若回答漂亮，她就將對(duì)方變得和自己一樣；如果逃跑，她會(huì)以極快的速度追上。這個(gè)女人的名字就叫：裂口女。 各學(xué)校一時(shí)間人心惶惶，男女學(xué)生們都怕碰到這個(gè)可怕的女人，而大人們卻對(duì)這個(gè)謠言嗤之以鼻。但隨著一場不詳?shù)牡卣鸢l(fā)生，裂口女終于到來……