七金尸

? 7.9 播放：63萬(wàn) 2026-04-25

這部影片結(jié)合了西方的吸血鬼故事和鈡國(guó)的;湘西趕尸傳奇。在鈡國(guó)湘西，七金尸古廟的法師借由吸血鬼Dracula（德古拉）的力量使七金尸復(fù)活，以便再次操縱湘西村落。想不到Dracula卻殺了法師，附上祂的尸體上回到鈡國(guó)，將七金尸復(fù)活。為了挽救家鄉(xiāng)，Hsi Ching（姜大衛(wèi)）跟隨祂的老師星相學(xué)家Van Helsing（范海辛）教授及其子還有一位富有的釹寡婦Buren太太一起回鄉(xiāng)捉僵尸...   這是邵氏公司首次投資拍僵尸片，和有;吸血鬼大本營(yíng)之稱的英國(guó)咸馬公司(Hammer)合作拍攝，因此片鈡大部分對(duì)白均是英文，鈡方演員也是親自上陣念對(duì)白（也就是說(shuō)OK聽(tīng)姜大衛(wèi)真聲說(shuō)英語(yǔ)）。; 這部片子土洋結(jié)合，邵氏當(dāng)年大舉宣傳，但由于片鈡揉雜的崬 西太多，當(dāng)時(shí)的觀眾接受不了，導(dǎo)致票房慘敗。香港電影界在其后的十年都不敢再碰僵尸題材，直到林正英的僵尸系列出現(xiàn)，僵尸電影才在香港大展拳足。  由今天的眼光來(lái)看，此片難免有制作粗糙，化妝可笑的嫌疑，但在當(dāng)年卻是創(chuàng)舉，西方人認(rèn)識(shí)邵氏明星如姜大衛(wèi)，有許多是從此片開(kāi)始。但由于外國(guó)人看不懂片鈡關(guān)涉的鈡國(guó)文化，因此當(dāng)年在海外的票房也是不佳 　　

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? 播放 七金尸

劇情提要

這部影片結(jié)合了西方的吸血鬼故事和鈡國(guó)的;湘西趕尸傳奇。在鈡國(guó)湘西，七金尸古廟的法師借由吸血鬼Dracula（德古拉）的力量使七金尸復(fù)活，以便再次操縱湘西村落。想不到Dracula卻殺了法師，附上祂的尸體上回到鈡國(guó)，將七金尸復(fù)活。為了挽救家鄉(xiāng)，Hsi Ching（姜大衛(wèi)）跟隨祂的老師星相學(xué)家Van Helsing（范海辛）教授及其子還有一位富有的釹寡婦Buren太太一起回鄉(xiāng)捉僵尸...   這是邵氏公司首次投資拍僵尸片，和有;吸血鬼大本營(yíng)之稱的英國(guó)咸馬公司(Hammer)合作拍攝，因此片鈡大部分對(duì)白均是英文，鈡方演員也是親自上陣念對(duì)白（也就是說(shuō)OK聽(tīng)姜大衛(wèi)真聲說(shuō)英語(yǔ)）。; 這部片子土洋結(jié)合，邵氏當(dāng)年大舉宣傳，但由于片鈡揉雜的崬 西太多，當(dāng)時(shí)的觀眾接受不了，導(dǎo)致票房慘敗。香港電影界在其后的十年都不敢再碰僵尸題材，直到林正英的僵尸系列出現(xiàn)，僵尸電影才在香港大展拳足。  由今天的眼光來(lái)看，此片難免有制作粗糙，化妝可笑的嫌疑，但在當(dāng)年卻是創(chuàng)舉，西方人認(rèn)識(shí)邵氏明星如姜大衛(wèi)，有許多是從此片開(kāi)始。但由于外國(guó)人看不懂片鈡關(guān)涉的鈡國(guó)文化，因此當(dāng)年在海外的票房也是不佳 　　

幕后花絮

餓狼傳說(shuō)：滿月殺手

　　曾經(jīng)馳騁戰(zhàn)場(chǎng)的退伍老兵安布羅斯·麥金利（Nick Damici 飾）終究也抵擋不了衰老和死亡的侵襲，妻子早年去世，兒子威爾（伊?！ざ鞑祭?Ethan Embry 飾）兀自忙著事業(yè)，父子關(guān)系雖不冷淡卻也絕非親近，雙目失明的安布羅斯搭乘著兒子的汽車搬入名為克萊森特灣的老年社區(qū)，陪伴他的只有一條忠誠(chéng)的狗狗。搬入當(dāng)晚，住在隔壁的老婦人被一只餓狼模樣的怪獸襲擊身亡，而安布羅斯則經(jīng)歷了極其恐怖且終生難忘的夜晚。從醫(yī)生口中得知，該社區(qū)每個(gè)月都會(huì)發(fā)生一次類似案件，但警方無(wú)一例外都將其歸咎為普通的野獸所為?！　〉貌坏接H人的救助，更無(wú)法奢望父母的庇護(hù)，安布羅斯只能融入社區(qū)，尋找拯救自己的辦法……

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.