影片推薦
北逃
索利曼·克魯茲,Niko Becker,巴特·金戈納,Alexandre Nguyen,Olivier Ho Hio Hen,Dimitar Vasilev,Noel Sto. Domingo,Olivier Chen,Baldo Gueye,Mahamat Amine Benrachid,Stefan Cojocaru十二個想死的孩子
杉咲花,新田真劍佑,北村匠海,高杉真宙,黑島結(jié)菜,橋本環(huán)奈,吉川愛,萩原利久,渕野右登,坂東龍?zhí)?古川琴音,竹內(nèi)愛紗我的老婆是女優(yōu)
Artur Ignatenko,莉莉婭·茨維利科娃,亞歷山大·梅爾尼克獵戰(zhàn)狂徒
鄭楚一,魏曉璇,文東俊,曾晨,鄒兆龍,盧惠光,邢瀚卿,英壯,梁焯滿,閔政,孫蛟龍,王澤宗,王洪千,包小平,任珅,吳豪,徐寧,趙思陌,楊光,朱翔,張振宇洛奇
西爾維斯特·史泰龍,塔莉婭·夏爾,伯特·楊,卡爾·韋瑟斯,布吉斯·梅迪斯平原上的迷途
菲利波·斯科蒂,塞爾吉奧·羅馬諾,皮耶爾保羅·卡波維拉,羅伯托·西特蘭,安德里亞·彭納基,Simone Bergamasco,Francesco Busolin,Diego De Francesco,丹尼斯·法索洛,Nicola Rossato,Giuseppe Messina同類精選
衛(wèi)兵的吶喊
米婭·麥肯納·布魯斯,馬特·狄龍,伊薩赫·德·班克爾血咒圣痕
藤原啟治真正的痛苦
杰西·艾森伯格,基南·卡爾金,福田知盛,詹妮弗·格雷,庫爾特·埃賈萬,麗莎·薩多威,丹尼爾·奧雷斯克斯,埃洛拉·托爾基亞,班納·艾森伯格,彼得·查赫尼埃基,雅各布·貢索夫斯基,奧爾哈·博索瓦,克日什托夫·雅什查克,馬雷克·卡斯普日克,雅各布·普魯斯基15點(diǎn)17分,啟程巴黎
斯賓塞·斯通,安東尼·薩德勒,亞歷克·斯卡拉托斯,朱迪·格雷爾,珍娜·費(fèi)舍,賈里爾·懷特,托馬斯·列農(nóng),托尼·海爾,P·J·伯恩,布萊斯·吉扎爾,斯蒂芬·考特爾,羅伯特·普拉爾戈,加里·維克斯寬恕我們
莉莉·沙利文,卡蘭·馬爾韋,理查德·勞斯伯格綁架2007
林嘉欣,劉若英,張智霖,郭濤,張兆輝,官恩娜,趙會南影視排行
雙瞳
梁家輝,劉若英,戴立忍,大衛(wèi)·摩斯,楊貴媚,林涵,郎雄由于兩年前揭發(fā)同僚貪污,臺北警官黃火土(梁家輝)被上級報復(fù)調(diào)入冷門的外事組工作,利益也曾連帶受損的新同事對他怒言相向,加上妻子清芳(劉若英)受不了他長期不回家要求離婚,黃火土感覺他的世界正在逐漸四分五裂。就在此時,三宗受害者的身份并無關(guān)聯(lián)的震驚了臺灣社會的離奇命案發(fā)生,法醫(yī)(楊貴媚)驗(yàn)尸發(fā)現(xiàn)他們都是因中一種神秘的黑霉菌產(chǎn)生幻覺而死,因?yàn)槿狈Υ朔矫娴娜瞬?,?dāng)局從美國請來此種案例的偵辦專家凱文萊特(David Morse)協(xié)助破案,黃火土重被任用。隨著一樁令所有人都目瞪口呆的事實(shí)的被發(fā)現(xiàn),一場圍繞政治利益與民眾利益的斗爭也在黃火土和辦案伙伴李豐博(戴立忍)及整個警察隊(duì)伍之間展開。
吊人游戲
阿爾·帕西諾,布蘭特妮·斯諾,莎拉·夏希,卡爾·厄本,喬·安德森,杰梅因·里弗斯,謝勒·拉莫斯,邁克爾·帕帕約翰,斯蒂芬·考特爾,歐德莎·雷,朱爾斯·黑文,薇薇安娜·查維斯,馬特·默丘里奧,邁克爾·羅斯,德韋恩·博伊德,斯洛恩·沃倫,喬恩·亞瑟偵探雷·阿切爾(阿爾·帕西諾飾)和他的搭檔威爾(卡爾·厄本飾)聯(lián)手追捕城市中最臭名昭著的連環(huán)殺手。而這名令人聞風(fēng)喪膽的連環(huán)殺手實(shí)則用“Hangman ”(上吊的人)的猜詞游戲犯案。
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.
異形侵襲
Ian McCulloch,Louise Marleau,Marino Masé所謂的無船員的船攜帶咖啡駛?cè)爰~約,但是當(dāng)警察和一些科學(xué)家在船上發(fā)現(xiàn)了船員可怕的尸體和大量的盒子裝滿綠色蟲蛋。爆炸的時候蛋溫度升高和任何人誰接觸的物質(zhì)都會爆炸?,F(xiàn)在政府介入和幸存的軍官,一名上校和一名宇航員發(fā)現(xiàn)這些蛋可能與災(zāi)難性的火星任務(wù)有關(guān)。