性、謊言和錄像帶 Sex, Lies, and Videotape (1989)
格雷厄姆（詹姆斯•斯派德 James Spader 飾）有一個(gè)特殊的癖好，就是為各種各樣的女人錄影，這些女人在他的攝像機(jī)面前都毫不遮掩地談?wù)撟约旱男越?jīng)驗(yàn)和其中細(xì)節(jié)。當(dāng)格雷厄姆回到闊別多年的家鄉(xiāng)時(shí)，他除了一輛汽車(chē)和這些錄像帶，一無(wú)所有。所以他只能暫時(shí)借住在同學(xué)約翰家。 約翰（彼得•蓋勒 Peter Gallagher 飾）是一名成功人士，他和妻子安（安迪•麥克道威爾 Andie MacDowell 飾）的妹妹辛西婭一直都在偷情，對(duì)妻子總是愛(ài)理不理。安陪著格雷厄姆去找租住的房子時(shí)，兩人在餐廳進(jìn)行了一次關(guān)于性的長(zhǎng)談，安坦言自己并不怎么重視性生活，而格雷厄姆則道出了自己的秘密：他性無(wú)能。 安偶然發(fā)現(xiàn)了格雷厄姆為各色女人拍的錄影帶，因丈夫冷淡而內(nèi)心苦悶的她決定也來(lái)錄影。
劇情簡(jiǎn)介
格雷厄姆（詹姆斯•斯派德 James Spader 飾）有一個(gè)特殊的癖好，就是為各種各樣的女人錄影，這些女人在他的攝像機(jī)面前都毫不遮掩地談?wù)撟约旱男越?jīng)驗(yàn)和其中細(xì)節(jié)。當(dāng)格雷厄姆回到闊別多年的家鄉(xiāng)時(shí)，他除了一輛汽車(chē)和這些錄像帶，一無(wú)所有。所以他只能暫時(shí)借住在同學(xué)約翰家。 約翰（彼得•蓋勒 Peter Gallagher 飾）是一名成功人士，他和妻子安（安迪•麥克道威爾 Andie MacDowell 飾）的妹妹辛西婭一直都在偷情，對(duì)妻子總是愛(ài)理不理。安陪著格雷厄姆去找租住的房子時(shí)，兩人在餐廳進(jìn)行了一次關(guān)于性的長(zhǎng)談，安坦言自己并不怎么重視性生活，而格雷厄姆則道出了自己的秘密：他性無(wú)能。 安偶然發(fā)現(xiàn)了格雷厄姆為各色女人拍的錄影帶，因丈夫冷淡而內(nèi)心苦悶的她決定也來(lái)錄影。
為你推薦
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.
馬爾切洛·埃爾南德斯：美國(guó)男孩
馬爾切洛·埃爾南德斯Marcello Hernandez: American Boy. Only on Netflix January 7.
外星博士
阿克曼博士是當(dāng)?shù)匾凰髮W(xué)的生物老師，他在被不明飛行物追趕時(shí)遇到了意外的死亡。韋斯利，他的一個(gè)學(xué)生，在吸引女性方面有困難。這一切都發(fā)生了變化，當(dāng)Xenobia女士接管了阿克曼的課程，并說(shuō)服衛(wèi)斯理參加一些維生素研究，她和她的助理Drax正在進(jìn)行。突然，韋斯利變得很有魅力，盡管在興奮的時(shí)候，他的腦袋里長(zhǎng)出了肉質(zhì)的天線(xiàn)。他新發(fā)現(xiàn)的成功可能會(huì)疏遠(yuǎn)他真正關(guān)心的那個(gè)女孩(Leeanne)，而Xenobia的動(dòng)機(jī)可能與她不是這個(gè)地球的事實(shí)有關(guān)。
黑仙女
安努舒卡·莎瑪,帕拉姆巴拉塔·查特吉,拉賈特·卡普爾,Ritabhari Chakraborty,Dibyendu Bhattacharya在完全印度文化的背景下，女主安努舒卡·莎瑪試過(guò)了殺人的公路驚悚片和與鬼魂相關(guān)的喜劇片后，在她制片的第三部作品中講了一個(gè)西方惡魔的故事?！ 淖诮虅?shì)力的追捕中僥幸逃生的惡魔之女，在母親的保護(hù)下，在山林中活到二十幾歲。母親去世后，女孩走進(jìn)城市，被善良內(nèi)向的男人收留?！ ∵@是一個(gè)異類(lèi)不惜付出一切渴望融入人類(lèi)生活，渴望愛(ài)情的故事。聯(lián)想到所有宗教都奉行的五花八門(mén)的女性禁忌，聯(lián)想到女孩的母親是因?yàn)楸粡?qiáng)迫才懷上了她，不禁感嘆:也許所有女人都是主流社會(huì)眼中的惡魔。因?yàn)閻?ài)，女人能擁有摧毀一切的力量;因?yàn)閻?ài)，女人能放下一切仇恨;因?yàn)閻?ài)，女人能犧牲一切，包括自己。世界就是被這樣的惡魔支撐著的。想盡辦法把她們趕盡殺絕的人，和她們自己，誰(shuí)是真正的惡魔?作為低成本獨(dú)立制片的恐怖電影，聲效化妝場(chǎng)景什么的，都沒(méi)什么毛病，都在及格線(xiàn)以上。不過(guò)如果不像我一樣對(duì)故事這么煽情，觀(guān)眾應(yīng)該會(huì)覺(jué)得故事太單薄，不夠刺激。一些觀(guān)眾群體可能會(huì)覺(jué)得不太舒服。畢竟在這部電影中，心中有愛(ài)的惡魔之女不是真的惡魔，那些站在正義一方的驅(qū)魔人才是。
午夜的太陽(yáng)
鄭知曉,車(chē)學(xué)沇該片翻拍自2006年上映的同名日本電影，講述罹患罕見(jiàn)疾病——XP色素性干皮癥的女主因?yàn)槠つw不能接受陽(yáng)光照射，否則將出現(xiàn)生命危險(xiǎn)。從此白天與之無(wú)緣，只能終日躲在家中，唯一的樂(lè)趣也只是趁著夜晚踱到車(chē)站廣場(chǎng)唱著自己喜愛(ài)的歌。在這一過(guò)程中，女主漸漸喜歡上時(shí)常路過(guò)車(chē)站的沖浪男孩的愛(ài)情故事。
玩命魔術(shù)
林更新,劉添月,劉家輝,午馬,周放魔術(shù)師社長(zhǎng)杜新月一直想要得到業(yè)內(nèi)早已經(jīng)失傳的傳奇魔術(shù)秘笈《三式詳解》，然而擁有該秘籍的童鐵卻拒絕將它交給心術(shù)不正的杜新月。憤怒之中，杜新月買(mǎi)通了童鐵的助手，讓她在童鐵表演逃脫魔術(shù)的道具上做了手腳，導(dǎo)致童鐵在表演過(guò)程中慘死。不僅如此，他們還繼續(xù)迫害知道秘籍下落的童鐵的兒子童行?！ 「鶕?jù)父親留下的項(xiàng)鏈，童行來(lái)到了龍泉寺，在那里的方丈將《三式詳解》交給了他，可就在這個(gè)節(jié)骨眼上，一直尾隨童行的方教授現(xiàn)身?yè)屪吡嗣丶?，然而螳螂捕蟬黃雀在后，杜新月緊隨其后打倒了方教授，試圖搶奪秘籍，最終會(huì)鹿死誰(shuí)手呢？
動(dòng)物僵尸2
Jonathon Buckley,Jarrid MasseA game ranger arresting poachers ends up saving their lives when zombie animals attack them in the jungle. Now surrounded, the game ranger and poachers forge uneasy alliance to stop the beasts before the super-zombie virus spreads to entire world.