你所不知道的童話故事

超時(shí)空輝夜姬！

“月讀”是希望與夢(mèng)想交會(huì)的虛擬空間，而舞臺(tái)幕布將緩緩升起，見(jiàn)證幾位少女在此譜寫短暫卻珍貴的相遇篇章。                                                                      　　不久的未來(lái)……                                                                      　　東京的 17 歲高中生酒寄彩葉過(guò)著非常忙碌的生活，努力在打工和學(xué)業(yè)之間尋找平衡。她的紓壓方式是觀看很有人氣的月見(jiàn)八千代直播，八千代管理名為“月讀”的線上虛擬空間。                                                                      　　彩葉時(shí)常光顧月讀，在那里可以體驗(yàn)不同的人生，自由揮灑創(chuàng)意。她就靠著支持八千代度過(guò)空閑時(shí)間，還會(huì)玩戰(zhàn)斗游戲賺一點(diǎn)外快。有一天，在回家路上，彩葉發(fā)現(xiàn)一根電線桿閃耀著奇異光芒，沒(méi)想到電線桿里竟然憑空冒出一個(gè)可愛(ài)的寶寶。彩葉沒(méi)辦法隨手拋棄寶寶，只好把她抱回家，眼睜睜看著她迅速長(zhǎng)成一個(gè)跟自己同齡的少女。                                                                      　　“你是輝耀姬嗎？”                                                                      　　這是你絕對(duì)不曾看過(guò)的輝耀姬物語(yǔ)。

三十一

　　萬(wàn)圣節(jié)前一天，五名狂歡節(jié)員工被綁架挾持到一個(gè)稱為“肅殺世界”的孤立院子。在萬(wàn)圣節(jié)時(shí)，他們會(huì)被扔進(jìn)一個(gè)名叫“31”的虐待狂的游戲中，他們將面對(duì)一群穿得像小丑一樣的瘋子。然而，小丑并不是唯一需要擔(dān)心的，一個(gè)更宏大的邪教儀式和更殘酷的陰謀將被喚醒......

貝爾法斯特

 凱特瑞娜·巴爾夫、朱迪·丹奇、杰米·多南、塞倫·希德和新人裘德·希爾主演，講述1960年代末動(dòng)蕩時(shí)期，一個(gè)在貝爾法斯特長(zhǎng)大的男孩的故事。多南和巴爾夫飾演一對(duì)富有魅力的工薪階層夫婦，他們陷入了混亂局勢(shì)中，丹奇和希德飾演詼諧活潑的祖父母。

大佛回國(guó)

血腥老虎：沖突開(kāi)始

　　警官哈金臥底潛入紅虎幫，并成功贏得該幫派的信任。他不僅成功揭露了他們的罪行，還必須直面這些殘暴的罪犯。然而，他遭遇背叛，陷入道德困境，在不為人知的情況下為維護(hù)正義而戰(zhàn)，他的忠誠(chéng)度也受到了考驗(yàn)。

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.