劇情簡介
美國大尺度艷情??；關(guān)于艾倫大學(xué)生生活的特寫，艾倫是睡覺與她的前男友，而試圖忽略一個(gè)事實(shí)，即他要尋找的不僅僅是性。她的室友，帕特里克，是沒有幫助的事項(xiàng)，他詭秘和嫉妒行為。的小演員擔(dān)任了這家溫馨和幽默的電影特色與應(yīng)屆大學(xué)畢業(yè)生和紀(jì)錄片的方式向色情圖片和對話真正的面試中唯一的一員。
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校園點(diǎn)將錄
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壞繼母
蘇菲亞·威希涅瓦,克里斯蒂·斯旺森,羅根·霍夫曼,戴夫·戴維斯,Anthony Marble,約翰·麥康奈爾Following the sudden and mysterious death of their father, a brother and sister return home to their sprawling New Orleans estate and encounter their unhinged stepmother, who will stop at nothing to gain control of their inheritance.
蜜戀合租
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有情感的機(jī)器人
巴萊特·奧利佛,瑪麗·貝絲·赫特,邁克爾·麥基恩,Kathryn Walker一名叫達(dá)爾的走失男孩被小鎮(zhèn)人們發(fā)現(xiàn)，由于沒人認(rèn)領(lǐng)，他被帶到福利院。經(jīng)過檢查，醫(yī)生發(fā)現(xiàn)他身體各項(xiàng)機(jī)能正常，而且智商很高，只是失去了一部分的記憶?！ ∵_(dá)爾被安排暫時(shí)居住在安迪家。安迪和妻子喬依斯一直希望能夠領(lǐng)養(yǎng)一個(gè)孩子，達(dá)爾的到來令他們異常興奮。在相處的過程中，達(dá)爾和鄰居家的小男孩特塔成為了非常要好的朋友，他們一起上學(xué)、一起玩耍、一起為安迪的棒球隊(duì)贏得了勝利，大家都覺得達(dá)爾是個(gè)非常聰明而且惹人喜愛的男孩?！ 『鋈挥幸惶欤瑑蓚€(gè)自稱是達(dá)爾父母的人來接走了達(dá)爾，這令安迪全家和特塔非常傷心。達(dá)爾也對他們產(chǎn)生了深厚的感情，戀戀不舍地離開了安迪家。 事實(shí)上達(dá)爾是一個(gè)在大腦中被植入芯片的機(jī)器人，但他現(xiàn)在具備了一個(gè)正常孩子的一切生理機(jī)能。來接他的也并非他的父母，而是制造他的博士。博士被達(dá)爾和安迪他們的深厚情感所感動(dòng)，他希望達(dá)爾能像正常孩子一樣生活，但國家的高級(jí)官員卻要求摧毀達(dá)爾。博士在同事的配合下，將達(dá)爾帶出試驗(yàn)基地，遭到警察的追擊，途中博士為了掩護(hù)達(dá)爾中彈身亡?！ ∵_(dá)爾潛入空軍基地，開著戰(zhàn)斗機(jī)向安迪家的方向飛去?？哲娀氐孛孢b控飛機(jī)在飛行過程中自動(dòng)摧毀，達(dá)爾彈出飛機(jī)，降落在安迪家旁邊的湖中。達(dá)爾終于回到了屬于他的“家”中。
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.