肉欲

評(píng)分:5.7 播放:93萬(wàn) 更新:2026-04-22

一位中年屠夫終日在店中沉湎于黑暗中的離奇性幻想,新的意y-對(duì)象是他剛幫助過(guò)的年輕女孩羅克茜,最終他們發(fā)生了關(guān)系。此時(shí)發(fā)生了一宗謀殺案,調(diào)查期間,屠夫引起了調(diào)查員的特殊興趣....   

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“象形拳”傳人金毛(尹正 飾)在一次比賽中意外躺贏,憑借各種反向操作玩轉(zhuǎn)流量搖身一變成“黑紅頂流”!因此被資本一眼看中,“網(wǎng)紅假大師”金毛決定返鄉(xiāng)組建“表面功夫”團(tuán)隊(duì)接著“忽悠”狂賺2個(gè)億!全村人戲精上身,在從心功夫小鎮(zhèn)熱鬧上演了一出精彩好戲!

送葬人2023

那塔烏·桑亞布,察猜·欽西,Thanadon Buarabat,Nek Naruepol,Phuwanet Seechomphu,蒂提·斯里努亞爾,Siriamol Onkoon

  講述一名法學(xué)院畢業(yè)生喬德回到家鄉(xiāng)準(zhǔn)備司法考試,但做殯葬業(yè)的父親卻生病了,怕鬼的他只好硬著頭皮協(xié)助家業(yè)。而錫安因?yàn)闊o(wú)法接受前女友的死亡,想方設(shè)法希望能再跟她見(jiàn)上一面,因此來(lái)幫喬德的忙。究竟在這個(gè)生與死交會(huì)的地方,他們會(huì)遇見(jiàn)什么樣的故事呢?

美食總動(dòng)員

帕頓·奧斯瓦爾特,伊安·霍姆,盧·羅曼諾,布萊恩·丹內(nèi)利,彼得·孫,彼得·奧圖爾,布拉德·加內(nèi)特,詹妮安·加羅法洛,威爾·阿奈特,詹姆斯·瑞馬爾,約翰·拉森貝格,泰迪·牛頓,托尼·弗希勒,杰克·斯坦菲爾德,布拉德·伯德,林賽·柯林斯,布拉德·劉易斯,洛麗·理查德森,邁克·吉亞奇諾

  小老鼠雷米在嗅覺(jué)方面有著無(wú)與倫比的天賦,不想過(guò)與垃圾堆為伴的生活,心懷成為五星大廚的夢(mèng)想?! ∫粋€(gè)偶然的機(jī)會(huì),他認(rèn)識(shí)了古斯特餐廳的學(xué)徒林奎尼,這個(gè)倒霉的學(xué)徒生性害羞,在廚藝上更是沒(méi)有什么天賦,并且遭到餐廳大廚的排擠,即將被解雇。這一人一鼠結(jié)成了奇特的聯(lián)盟:雷米奉獻(xiàn)自己極富創(chuàng)造力的大腦。操作林奎尼前臺(tái)“表演”?! ≡诶酌椎膸椭?,林奎尼不但成為新的“天才廚師”,獲得了美女同事的愛(ài)情,還挫敗了大廚的陰謀,成為古斯特餐廳的合法繼承人。突如起來(lái)的成功讓林奎尼有些不知所措,想擺脫自己的傀儡身份,把雷米趕出了廚房?! 」潘固夭蛷d的成功,引起了苛刻的美食評(píng)論家科隆的注意,準(zhǔn)備一嘗林奎尼的手藝,重新為餐廳評(píng)定星級(jí);而不甘失敗的前大廚,蠢蠢欲動(dòng),想要找到林奎尼一夜成名的秘密。失去了雷米,林奎尼該如何面對(duì)這些問(wèn)題……

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.