超級(jí)誘惑

諾查丹瑪斯滅亡錄?基因的新世紀(jì)

樂開懷

　　克萊爾（米歇爾·菲佛 飾）組織了一次特別的圣誕郊游活動(dòng)，而她的家人卻在忙碌中將她遺忘。當(dāng)他們意識(shí)到錯(cuò)誤時(shí)，她已經(jīng)失蹤了。他們的圣誕節(jié)岌岌可危，但克萊爾另有打算。

未來學(xué)大會(huì)

　　曾經(jīng)名噪一時(shí)的女明星羅賓·懷特（羅賓·懷特 Robin Wright 飾）早已過氣，45歲的她因?yàn)閳?zhí)拗和任性毀掉的很多機(jī)會(huì)，也讓公司老板杰夫（丹尼·赫斯頓 Danny Huston 飾）漸漸失去了耐心。杰夫逼迫她簽下演員生涯最后一份合約，從此羅賓的名字和三維掃描后的虛擬 形象只能出現(xiàn)在公司的展示墻上和數(shù)字時(shí)代的電影中。羅賓起初極度抵制，但在經(jīng)紀(jì)人艾爾（哈威·凱特爾 Harvey Keitel 飾）的竭力勸說下，同時(shí)考慮到兒子亞倫（柯蒂·斯密特-麥菲 Kodi Smit-McPhee 飾）的狀況，這個(gè)倔強(qiáng)的女人選擇妥協(xié)。20年后，羅賓驅(qū)車前往亞伯拉荷馬參加未來學(xué)大會(huì)，而那里是一個(gè)全動(dòng)畫封鎖區(qū)。以動(dòng)畫形象示人的羅賓將經(jīng)歷一次難忘的旅程……　　本片根據(jù)波蘭科幻、哲學(xué)、未來學(xué)作家斯坦尼斯拉夫·萊姆的短篇小說改編。

鬼屋行竊

　　一名退伍軍人得到一份搶劫房子的工作，但結(jié)果發(fā)現(xiàn)這所房子是 Nyai 的房子，Nyai 是一位小妾，又名 Gundik。

恭喜發(fā)財(cái)

　　在現(xiàn)代都市里，居然出了奇怪的大事。某日從天降下一位怪人，而且自稱財(cái)仙（譚詠麟），為了逃避群眾追趕，而湊巧遇上了茶室老板及其女兒愛玲、兒子彬彬。隨即他變被打扮成時(shí)代青年財(cái)仙，替老板解決了不少難題，更積極傳播真理，讓身邊的人人都能幸福快樂。后來，財(cái)仙為救汽車失事的愛玲，使用法力搶救但似的自己變成凡人。而后更遭太空署人員圍捕，幸得眾人齊心救援，方才遇難呈祥、逢兇化吉?！　∠愀厶旎始?jí)的歌手譚詠麟早期80年代的電影作品。譚詠麟雖然憑《假如我是真的》奪得第十八屆金馬獎(jiǎng)男主角，但是要數(shù)出他的代表作也不容易。因?yàn)樗餮莸钠哟蠖嘧吒阈β肪€，觀眾大多笑完即止。不過其中《小生怕怕》、《少爺威威》、《恭喜發(fā)財(cái)》也算得上當(dāng)時(shí)優(yōu)秀的喜劇作品，而且對(duì)于在樂壇上作全力沖刺的譚詠麟來說，能出演40多部電影，也可算是一個(gè)神話。延續(xù)了此前《小生怕怕》、《少爺威威》等片的商業(yè)熱力，本片推出后也大獲成功，贏得了接近兩千萬的高票房，站到了年度賣座電影的前五名之內(nèi)。故事的結(jié)局和所有的賀歲片如出一轍，同樣是皆大歡喜。樂呵呵的看完電影，但演員們的精彩表現(xiàn)還是讓人津津樂道，至今翻看起來仍舊能回味無窮。

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.

燃燒的夜晚

　　獅門出品 必屬精品　　暴風(fēng)雨來襲  一女孩和她有孤獨(dú)癥的弟弟被困在一個(gè)有老虎的房子里