連環(huán)強(qiáng)奸犯

? 9.3 播放：87萬(wàn) 2026-04-29
主演：Brent Collins Morgana Moon Doug 

Payton暫無(wú)內(nèi)容Collins:暫無(wú)內(nèi)容Serial暫無(wú)內(nèi)容Rapist暫無(wú)內(nèi)容is暫無(wú)內(nèi)容a暫無(wú)內(nèi)容delicious暫無(wú)內(nèi)容new暫無(wú)內(nèi)容slice暫無(wú)內(nèi)容of暫無(wú)內(nèi)容"Darkotica"?暫無(wú)內(nèi)容from暫無(wú)內(nèi)容director暫無(wú)內(nèi)容Toby暫無(wú)內(nèi)容Ross暫無(wú)內(nèi)容-暫無(wú)內(nèi)容featuring暫無(wú)內(nèi)容plenty暫無(wú)內(nèi)容of暫無(wú)內(nèi)容full暫無(wú)內(nèi)容frontal暫無(wú)內(nèi)容nudity暫無(wú)內(nèi)容from暫無(wú)內(nèi)容an暫無(wú)內(nèi)容adorable暫無(wú)內(nèi)容cast暫無(wú)內(nèi)容of暫無(wú)內(nèi)容hung暫無(wú)內(nèi)容young暫無(wú)內(nèi)容dudes暫無(wú)內(nèi)容sporting暫無(wú)內(nèi)容sizeable暫無(wú)內(nèi)容erections.

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劇情提要

Payton暫無(wú)內(nèi)容Collins:暫無(wú)內(nèi)容Serial暫無(wú)內(nèi)容Rapist暫無(wú)內(nèi)容is暫無(wú)內(nèi)容a暫無(wú)內(nèi)容delicious暫無(wú)內(nèi)容new暫無(wú)內(nèi)容slice暫無(wú)內(nèi)容of暫無(wú)內(nèi)容"Darkotica"?暫無(wú)內(nèi)容from暫無(wú)內(nèi)容director暫無(wú)內(nèi)容Toby暫無(wú)內(nèi)容Ross暫無(wú)內(nèi)容-暫無(wú)內(nèi)容featuring暫無(wú)內(nèi)容plenty暫無(wú)內(nèi)容of暫無(wú)內(nèi)容full暫無(wú)內(nèi)容frontal暫無(wú)內(nèi)容nudity暫無(wú)內(nèi)容from暫無(wú)內(nèi)容an暫無(wú)內(nèi)容adorable暫無(wú)內(nèi)容cast暫無(wú)內(nèi)容of暫無(wú)內(nèi)容hung暫無(wú)內(nèi)容young暫無(wú)內(nèi)容dudes暫無(wú)內(nèi)容sporting暫無(wú)內(nèi)容sizeable暫無(wú)內(nèi)容erections.

幕后花絮

烏鴉2024

　　本片將更加忠實(shí)詹姆斯·奧·巴爾的同名漫畫(huà)。講述搖滾樂(lè)手埃里克·德雷文（比爾·斯卡斯加德 Bill Skarsg?rd 飾）和他的未婚妻雪莉（小枝女孩 FKA twigs 飾）被殘忍殺害。一年后，埃里克從墳?zāi)怪刑K醒，并進(jìn)行復(fù)仇。復(fù)活后的埃里克擁有著超自然的力量，而他所到之處必定有烏鴉跟隨。

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.