現(xiàn)代豪放女

獨(dú)自赴死

　　Tells the story of a young man who has amnesia. He bands together with a rugged survivalist in a zombie-like outbreak to find his girlfriend.

我的曼?。?025圣誕特別篇

留校聯(lián)盟

 預(yù)科學(xué)校巴頓學(xué)院的老師保羅（保羅·吉亞瑪提 飾）不太受歡迎，不管是學(xué)生、老師還是校長(zhǎng)，都不太喜歡他，他們覺得他浮夸又僵化。在1970年的圣誕假期，保羅留在了學(xué)校監(jiān)督無法回家的學(xué)生。幾天后，只有一個(gè)學(xué)生留了下來——一個(gè)名叫安格斯的15歲搗蛋鬼，他是一個(gè)被不良行為破壞的好學(xué)生，總是在被開除的邊緣試探。與保羅和安格斯一起留下的還有學(xué)校廚師長(zhǎng)瑪麗，一個(gè)為特權(quán)階層的兒子們提供服務(wù)的非裔美國婦女，她自己的兒子最近在越南失蹤了。這三個(gè)截然不同的失意者組成了一個(gè)奇怪的圣誕家庭，在新英格蘭大雪紛飛的兩個(gè)星期里，分享著不幸經(jīng)歷，并意識(shí)到他們中沒有人感謝自己的過去。

透明人出現(xiàn)了

　　中里博士は人間を透明にする薬品を密かに完成させるが、秘密をかぎつけた謎の男が薬を奪い透明人間になって、希代の寶石“アムールの涙”を強(qiáng)奪しようとする。円谷英二が大映京都撮影所で、「虹男」に続いて特撮を擔(dān)當(dāng)した話題作である。

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.

人證1977

　　死于東京皇家飯店電梯里的美國黑人青年被人發(fā)現(xiàn)后，警方展開調(diào)查，從死者遺物中，知曉其名叫焦尼，并推斷其來日目的是為找尋生母。根據(jù)種種線索，警方來到某溫泉，發(fā)現(xiàn)知情人已被殺害，但還是知曉了知名服裝設(shè)計(jì)師八杉恭子（岡田茉莉子）當(dāng)年曾與一美國黑人士兵在此同居之事，遂派警官棟居（松田優(yōu)作）前去美國向紐約警察肖夫坦（喬治?肯尼迪）求證?！　∏笞C過程中，棟居陷入歷史記憶與民族情結(jié)中，幾欲將眼前的美國人尤其肖夫坦與當(dāng)年在日本犯下罪行的劊子手混為一談，但終回復(fù)理智完成了任務(wù)，將八杉恭子圈定為兇手，而八杉恭子不過也是歷史的受害者。