游戲規(guī)則1994
一心想過上流社會生活的龍?zhí)阒貏?飾)和一心一意愛著他的美容師泰洙(吳燕洙 飾)為了尋找寄身于黑社會的母親柳光天不顧三七二十一的來到了大都市?! ≡诼飞系幕疖囌纠锉粷M洙(李璟榮 飾)騙光錢財后成了流浪漢,急火功心的龍?zhí)珜⑼械奶╀ㄙu給了妓院,繼續(xù)尋找柳光天四處漂泊。一個偶然的機會下龍?zhí)攘嗣鼞乙痪€的柳光天并成了她的手下,當(dāng)龍?zhí)俅魏吞╀ㄏ嘁姇r,泰洙已經(jīng)成了妓女可是她對龍?zhí)€是一往情深?! ∠胍诤诘懒⒆愕凝?zhí)谝粋€任務(wù)完成的很圓滿,可是卻因為龍?zhí)脑虮缓诘澜M織打斷了腿的滿洙觸動了龍?zhí)詈笠唤z憐憫之心,看清了自己所處的位置,龍?zhí)庾R到自己希望的光天派和現(xiàn)實并不一樣,而且組織眼看著勢力迅速崛起的龍?zhí)珓萘σ灿X得不安心,于是向龍?zhí)逻_了一個暗殺給組織帶來威脅的金檢察官……
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劇情提要
一心想過上流社會生活的龍?zhí)阒貏?飾)和一心一意愛著他的美容師泰洙(吳燕洙 飾)為了尋找寄身于黑社會的母親柳光天不顧三七二十一的來到了大都市?! ≡诼飞系幕疖囌纠锉粷M洙(李璟榮 飾)騙光錢財后成了流浪漢,急火功心的龍?zhí)珜⑼械奶╀ㄙu給了妓院,繼續(xù)尋找柳光天四處漂泊。一個偶然的機會下龍?zhí)攘嗣鼞乙痪€的柳光天并成了她的手下,當(dāng)龍?zhí)俅魏吞╀ㄏ嘁姇r,泰洙已經(jīng)成了妓女可是她對龍?zhí)€是一往情深?! ∠胍诤诘懒⒆愕凝?zhí)谝粋€任務(wù)完成的很圓滿,可是卻因為龍?zhí)脑虮缓诘澜M織打斷了腿的滿洙觸動了龍?zhí)詈笠唤z憐憫之心,看清了自己所處的位置,龍?zhí)庾R到自己希望的光天派和現(xiàn)實并不一樣,而且組織眼看著勢力迅速崛起的龍?zhí)珓萘σ灿X得不安心,于是向龍?zhí)逻_了一個暗殺給組織帶來威脅的金檢察官……
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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.