巴德爾和邁因霍夫集團

危境交戰(zhàn)

　　危險且不可預(yù)測的任務(wù)！在這飽受戰(zhàn)爭蹂躪的國家，他能否改變現(xiàn)狀？　　麥可福斯特曾是一名士兵，后來成為承包商，他和他的團隊發(fā)現(xiàn)自己在一個與內(nèi)戰(zhàn)殘余和秘密犯罪分子作斗爭的國家中執(zhí)行著一項危險的任務(wù)…

那家伙

　　1999年釜山的一個小村莊里，女學(xué)生恩智（劉慧英飾）被害身亡，她的哥哥張宇（周元飾）也失去了唯一的親人，他決心一定要查出殺害妹妹的兇手。由于一點線索都沒有，張宇不得不借助能預(yù)知死亡的少女（李柔英飾）的力量來追查真兇，并在追查的過程中，盯上了小區(qū)內(nèi)平常人緣和口碑都不錯的藥店藥師閔藥局（劉海鎮(zhèn)飾），雖然沒有證據(jù)，但是張宇卻認定他就是“那個家伙”，于是開始24小時緊盯著閔藥局  。

富貴再逼人

　　在報館任職的驃叔（董驃 飾）因為工作的關(guān)系帶著全家到加拿大工作。一家五口都全身心投入新環(huán)境新生活中，驃叔卻因得罪上司被解雇了。由于大女兒、二女兒（李麗珍 飾）已開始了學(xué)業(yè)，他唯有帶著妻子驃嬸（沈殿霞 飾）與最小的女兒回到香港繼續(xù)生活，生活卻比以前更艱難了。驃嬸無意中發(fā)現(xiàn)了一張加拿大的頭獎彩票，獎金是兩千萬加幣?！　∮捎诓粔蝈X到加國，驃叔硬著頭皮向舊上司借。同樣受到經(jīng)濟危機的上司設(shè)法要奪取驃叔的彩票。驃叔一家頑強對抗，保住了彩票，卻無法在領(lǐng)獎時限截止前趕到?！　∫患胰藗牧鳒I，悲傷之中發(fā)現(xiàn)時間上出現(xiàn)了時差，領(lǐng)獎的時間還沒截止。

我老婆不是人

　　建筑師托尼（梁家輝 飾）的個性十分木訥老實，以至于他暗戀同時艾琳（陳雅倫 飾）多年，卻總也鼓不起勇氣表白，更糟的是，艾琳已有一位感情親密的男友，托尼的單戀似乎注定不會有結(jié)果。一次偶然中，托尼被猛鬼纏身，索性得到名為嘉嘉（關(guān)之琳 飾）的女鬼相助才得以脫身，也正因為這件事，托尼擁有了能與嘉嘉心意相通的特異功能?！　〉弥送心岬目鄳?，熱心的嘉嘉決定幫他一把，一番波折之后，艾琳終于離開了男友，投入了托尼的懷抱，可是，直到這時，托尼才發(fā)現(xiàn)自己其實早已經(jīng)深深的愛上了嘉嘉，無奈人鬼殊途，無法承受分離之苦的托尼竟然決定殉情。

一百樣?xùn)|西

　　安東尼（馬提亞斯·施維赫夫 Matthias Schweigh?fer 飾）和保羅（弗洛里安·大衛(wèi)·弗里茨 Florian David Fitz 飾）是從小玩到大的青梅竹馬，兩人共同經(jīng)歷了太多的事情，彼此之間的友誼堅不可破。成年之后，他們一起創(chuàng)辦了一家公司，這一天，公司覓得了一名非?？犊耐顿Y人，為了慶祝這件事情，公司里開設(shè)了一場盛大的派對，在派對上，玩的興起的安東尼和保羅決定打一個賭，賭注是公司百分之五十的股份。　　安東尼和保羅交出了身上所有的東西，兩人回歸到身無分文的狀態(tài)，然后每一天，他們都可以在他們所擁有的東西里拿回一件，如此往復(fù)，看誰能夠撐更長的時間，先放棄的人就是輸家。

等待方舟

　　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.

大佛回國