蜜桃臀工地嫂

評(píng)分：9.0 播放：04萬(wàn) 更新：2026-04-28

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徐立,曲少石,楊瓏,劉著,劉金,曹禹澄,李鶴楠,趙洪紀(jì),李昕芮,王昌,熊競(jìng)宇

　　云南某小鎮(zhèn)上的一家客棧，浪蕩不羈的老板楊浩（曲少石 飾）與女服務(wù)員鬧鬧（曹蕾 飾）有染，還想方設(shè)法勾搭實(shí)習(xí)女服務(wù)生曉菲（徐立 飾）。柳經(jīng)理看在眼里，忍氣吞聲。這一天，楊浩的發(fā)小蹦燈兒（李鶴楠 飾）海外留學(xué)歸來(lái)。兩個(gè)好朋友一個(gè)德行，都有著輕浮虛化的言行。為了給好友接風(fēng)，楊浩召集柳經(jīng)理、曉菲、鬧鬧、后廚的仙爺、華子、小胖等人大擺筵席。夜深人靜，安靜的小院內(nèi)響起了陰冷清脆的高跟鞋聲，接著一個(gè)披頭散發(fā)的女人影影綽綽出現(xiàn)在各個(gè)角落?！　⌒膽压硖サ膫€(gè)人，將經(jīng)歷最恐怖的一夜……

極限審判

克里斯·帕拉特,麗貝卡·弗格森,卡莉·瑞斯,安娜貝爾·沃利斯,克里斯·沙利文,凱萊·羅杰斯,杰夫·皮埃爾,拉菲·格拉沃恩,肯尼斯·崔,杰米·麥克布萊德,羅斯·格斯拉,馬克·達(dá)內(nèi)里,海頓·道爾頓,邁克爾·C·馬洪,諾亞·費(fèi)恩利,庫(kù)里·普拉特,杰·杰克遜,馬哈茂德·馬哈茂德,安雅·阿克斯丁,理查德·賽特倫

 警探雷文（克里斯·帕拉特 飾）突遭指控，陷入殺妻疑云，被推上由AI判官裁決的審判席。90分鐘倒計(jì)時(shí)啟動(dòng)，他必須借助AI“天眼”系統(tǒng)，在海量數(shù)據(jù)中尋找翻盤證據(jù)，推翻指向自己的致命結(jié)論，否則將被當(dāng)庭處死。然而，調(diào)查越深入，嫌疑人越多，數(shù)據(jù)卻不斷自我驗(yàn)證、層層鎖死真相。當(dāng)算法 構(gòu)成無(wú)法破解的死局，人類還能否掙脫系統(tǒng)的最終裁決?

摩斯拉1996

小林恵,山口紗彌加,羽野晶紀(jì),二見一樹,藤?zèng)g麻彌,萩原流行,田中ひろ子,荒川強(qiáng)啓,寺尾聰,大寶智子,須藤真里子,高橋ひとみ,梨本謙次郎

　　豐國(guó)商事在北海道紋別地區(qū)一直進(jìn)行著森林采伐，作為現(xiàn)場(chǎng)監(jiān)督人員的后藤裕一無(wú)意中發(fā)現(xiàn)了隱藏在這片森林之 中的古代遺跡并將埋藏在這片遺跡中的一枚盾牌拿了回去?！　∑鋵?shí)這片遺跡是妖精族留下來(lái)的，在此地還 封印了一個(gè)叫做帝斯基多拉的宇宙怪獸。6500萬(wàn)年前從外星而來(lái)的它毀滅了一切植物，導(dǎo)致了恐龍滅絕，而那枚盾牌正是用來(lái)封印怪獸帝斯基多拉的?！　?duì)此毫不知情的裕一將這枚盾牌帶回了位于都內(nèi)自己的 家并把它作為掛飾送給了自己的女兒，然后自己又返回到了采伐現(xiàn)場(chǎng)。黑色妖精貝拉貝拉飛來(lái)?yè)寠Z這枚盾牌并與對(duì)立派莫兒、羅拉姐妹展開了盾牌爭(zhēng)奪戰(zhàn)。在被莫兒、羅拉姐妹告知盾牌和封印的由來(lái)的后藤一家與莫兒、羅拉姐妹一起準(zhǔn)備前往紋別。但在紋別的卻出現(xiàn)了一塊巨大的巖石。在后藤一家的協(xié)助之下羅拉姐妹奪回了盾牌，但是怪獸帝斯基多拉卻從巖石中復(fù)活了。它像惡魔一樣恐怖。為了打到怪獸帝斯基多拉，莫兒召喚來(lái)了摩斯拉。但是摩斯拉剛剛產(chǎn)完卵，壽命不長(zhǎng)的她和怪獸之間陷入了苦戰(zhàn)。為了助自己母親一臂之力早產(chǎn)的 幼蟲通過(guò)自己的絲和光線支援母親作戰(zhàn)?！　∧λ估粩嗵魬?zhàn)怪獸，使水庫(kù)決堤成功的將怪獸逼到了對(duì)岸，但是摩斯拉拼盡了全力最終沉入了海底。在這之后，幼蟲在屋久島充分吸收了森林的能量新的摩斯拉再次誕生了。于此同時(shí)怪獸也已經(jīng)重新恢復(fù)到毀滅地球時(shí)的完 全狀態(tài)，新的摩斯拉與怪獸再次交戰(zhàn)，他以壓倒性的力量和優(yōu)勢(shì)再次將怪獸封印到了地下。此后，摩斯拉讓被怪 獸燒掉的已成荒蕪的北海道瞬間重獲綠色，并和莫兒、羅拉姐妹一起返回到了家鄉(xiāng)。

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.