過分的姐姐 あまりにも言ういとこ姉に (2018)

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.

血觀音

 棠家一脈花開，將軍身故，棠夫人站在家族宗法寶塔上，也就立足彌陀鄉(xiāng)政治的頂端。黑白兩道，茶盞交錯(cuò)之間，玲瓏心，剔透眼，柔軟身段，霹靂手段，女人天下。大女兒棠寧玲瓏八面，卻懷一股心思幽微，小女兒棠真乖巧聽話，學(xué)著繼承泡茶待客之道，隨棠夫人簾后織手暗操線，青春初豐滿的羽翼，能如何擔(dān)起腥風(fēng)血雨？棠家牽線的土地開發(fā)計(jì)劃出現(xiàn)變數(shù)，好友議員一家遭滅門慘案，以血掀變，彌陀鄉(xiāng)勢(shì)力重新洗牌，暗潮涌動(dòng)，臺(tái)北二十年，大家深宅三代女人，千手染血的觀音，骨與血，治與亂，情欲與權(quán)力層層密謀穿織。

超能計(jì)劃

　　在新奧爾良的街道上，關(guān)于神秘新藥丸的消息開始傳播開來，這種藥丸可以解鎖每位使用者獨(dú)特的超能力。但問題是：在服用之前，沒人知道用藥后會(huì)發(fā)生什么。一些人會(huì)進(jìn)化出防彈皮膚、隱形能力和超強(qiáng)力量，也有很多人會(huì)表現(xiàn)出更致命的反應(yīng)。但是，當(dāng)藥丸使城市內(nèi)的犯罪升級(jí)到危險(xiǎn)水平時(shí)，當(dāng)?shù)鼐欤s瑟夫·高登-萊維特飾）與一名少女小販（多米尼克·菲什巴克飾）和誓報(bào)私仇的退伍士兵（杰米·?？怂癸棧┞?lián)手以硬碰硬，他們冒著服用藥丸的風(fēng)險(xiǎn)，以追蹤并制止制造出該藥丸的團(tuán)隊(duì)。

天使的印跡：苦難

　　弗蘭克·沙萊克是個(gè)國(guó)際刑警，沙萊克在工作中的過激行為有被上司停職的危險(xiǎn)。 弗蘭克·沙萊克有一個(gè)秘密組織，專門從事尋找綁架兒童的線索。 沙萊克聽到唱詩班指揮的死亡，他認(rèn)為他自己能調(diào)查這個(gè)案件，并且他也已經(jīng)發(fā)現(xiàn)了一個(gè)線索，并與卡斯丹合作調(diào)查。但隨著調(diào)查的深入，他們?cè)较菰缴?，那些秘密就隱藏在二次大戰(zhàn)的那些黑暗歷史中

羅莎夫人

 故事發(fā)生在巴黎阿拉伯人和猶太人聚居區(qū)，那里有許多妓院。上了年紀(jì)、體弱多病的猶太婦女羅莎，負(fù)責(zé)照顧一群妓女所生的孩子，而她自己過去也曾當(dāng)過妓女，并在納粹集中營(yíng)度過一段可怕的時(shí)光。影片主要表現(xiàn)羅莎夫人與她所照顧的一個(gè)阿拉伯男孩令人感動(dòng)的關(guān)系。

勝利之歌

 本片本講述的是：?jiǎn)讨巍た聺h是本世紀(jì)前期著名的百老匯表演藝人，身兼演員、作家、作曲家與舞蹈家于一身，他的生平故事可以說反映了四十年代以前美國(guó)娛樂事業(yè)的生態(tài)。本片是導(dǎo)演邁克爾·柯蒂茲與編劇愛潑斯坦尼兄弟合作的另一佳片，描述柯漢從一個(gè)地位卑微的兒童演員力爭(zhēng)上游變成百老匯巨星的一生。以出色的制作和歌舞場(chǎng)面重現(xiàn)當(dāng)年的娛樂圈面貌，并側(cè)面反映了當(dāng)時(shí)的美國(guó)社會(huì)脈動(dòng)。在三十年代以主演黑社會(huì)片享有盛譽(yù)的詹姆斯·卡格尼改變戲路，在銀幕上又唱又跳，生動(dòng)而細(xì)膩地注釋了主人翁的形象和個(gè)性，因而勇奪奧斯卡最佳男主角金像獎(jiǎng)，片中出色的歌舞表演亦令人看得眉飛色舞

諾查丹瑪斯滅亡錄?基因的新世紀(jì)