艷娃傳
故事發(fā)生在新奧爾良的一家妓院里，一戰(zhàn)將近，時局動蕩不安，惟獨在這所妓院里，一切都如往常一樣井然有序的行進著。12歲的紫羅蘭（波姬 絲 Brooke Shields 飾）與母親海蒂（蘇珊 薩蘭登 Susan Sarandon 飾）和弟弟相依為命，對她來說，最近唯一的大事就是自己即將要進行拍賣的童貞?！∽鳛榧嗽河玫臄z影師，貝洛克（基思 拉丹 Keith Carradine 飾）顯得和開放的大環(huán)境有些格格不入，他的目光，一直都落在年幼而美艷的紫羅蘭身上。不久之后，海蒂勾搭上了一個有錢人，隨即帶著兒子離開了妓院，紫羅蘭成為了被拋棄的那一個。在紫羅蘭走投無路的時候，貝洛克收留了她，兩人開始了同居的生活，可是紫羅蘭乖僻的性格讓貝洛克無法忍受，這段感情最終以分手告終。然而，此時的兩人并不知道的是，這只是他們漫長情感糾葛的開始。
即刻觀影
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美國小說
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悄然之星
神樂坂惠,遠藤賢司,池田優(yōu)斗,森康子無數(shù)次的災(zāi)難與戰(zhàn)爭，讓人類的數(shù)量銳減，似乎也因此使得宇宙變得更加寧靜。而今人工智能機器人已在宇宙間占有絕對的統(tǒng)治地位，人類卻只有兩成左右。雖然科學(xué)極大進步，可惜人類無法突破壽命的百年限定，他們匆匆而來，默默而終，不知不覺走向滅亡?！ в袧庵卣押蜌庀⒌挠钪骘w船中，生活著編號為722的人形機器人鈴木洋子（神樂坂惠 飾）。她與AI機器人相伴，永遠奔波在漫長的宇宙旅途中。她的日常百無聊賴，洗衣服、縫扣子、剪指甲、打掃衛(wèi)生，孤獨與靜寂永無止境。洋子是一名宇宙快遞員，她所投遞的貨物卻都是些看似無關(guān)緊要的小物件。每次投遞需要花費數(shù)年時間，縱使瞬間旅行已成可能，不過她卻似乎有什么理由消磨這漫長的時光。一顆孤獨的星球上，仿佛被全宇宙所遺忘的人類，在破敗的街道上等待著遠方的造訪……
寄宿房
桑德琳娜·米歇爾,阿里·伊爾漢姆,Cassandra LeeThe boarding house residents felt something strange in their residence. Rumors circulated that the cheap boarding house asked for a sacrifice in the form of someone's life. One of the apparitions they often saw was a terrifying pocong.
養(yǎng)鬼吃人7
卡瑞·伍爾 , 保羅·瑞斯 , Simon Kunz《倫敦地下城市》一個女記者被派遣到羅馬尼亞首都布加勒斯特調(diào)查一個地下自殺邪教“死魂靈”。她很快就陷入了他們的黑暗世界，無法找到回頭路，從而被迫加入他們，迎接一項極為恐怖的事情... ...
瘋狂特警隊
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等待方舟
耶日·斯圖爾,克里斯提娜·楊達,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·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.