欲念浮動(dòng)
兩個(gè)青年女子之間的表態(tài)性心理導(dǎo)致了其中一個(gè)被害，而兇手就是另外一位姑娘。此后，她便被囚禁一間修道院中。探長(zhǎng)前來偵詢，律師也前來調(diào)查案情。但探長(zhǎng)并非在影片首尾出現(xiàn)的那個(gè)探長(zhǎng)，律師又與被害者是同一個(gè)。所以，這樁兇殺案是否真的發(fā)生過，是否真的是這位殺手所為，都是不肯定的。需要由觀眾自行思考。本片是導(dǎo)演羅布一格里葉繼《穿越歐洲的快車》后，自編自導(dǎo)的影片。也是他的第一部彩色影片。影片中的框架十分簡(jiǎn)單。
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奇跡男孩
雅各布·特倫布萊,朱莉婭·羅伯茨,伊扎貝拉·維多維奇,歐文·威爾遜,諾亞·尤佩,丹妮爾·羅絲·拉塞爾,納吉·杰特,戴維德·迪格斯,曼迪·帕廷金,布萊斯·吉扎爾,艾爾·麥金農(nóng),泰·孔西利奧,詹姆斯·休斯,凱爾·布瑞特科夫,米莉·戴維斯,莉婭·朱厄特,凱琳·布瑞特科夫,利亞姆·迪金森,艾瑪·特倫布萊,馬克·多茲勞,魯奇婭·伯納德,J·道格拉斯·斯圖瓦特,阿里·利伯特,埃麗卡·麥基特里克,本·伊曼紐爾,杰森·麥金農(nóng),索尼婭·布拉加,吉潔特瘋狂的外星人
黃渤,沈騰,湯姆·派福瑞,馬修·莫里森,徐崢,于和偉,雷佳音,劉樺,鄧飛,蔡明凱,王戈,凱特·納爾遜,王硯偉,呲路地平線2024
凱文·科斯特納,西耶娜·米勒,薩姆·沃辛頓,吉娜·馬隆,歐文·克勞肖,塔坦卡·米恩斯,艾拉·亨特,蒂姆·金尼,丹尼·赫斯頓,柯林·坎寧安,斯科特·黑茲,湯姆·佩恩,阿比·麗,邁克爾·魯克,威爾·帕頓,喬治亞·麥克菲爾,道格拉斯·史密斯,盧克·威爾遜,伊莎貝拉·弗爾曼,杰米·坎貝爾·鮑爾,亞歷杭德羅·埃達(dá),Wasé Winyan Chief,邁克爾·安格拉諾,安古斯·麥克菲登,喬恩·比弗斯,亞歷克斯·尼布理,艾蒂安·凱利奇,Amos Jason Charging Cloud,博迪·奧庫(kù)馬·林頓,格雷戈里·克銀瀑
James Ralph,艾瑞克·阿瓦利 Erick Avari,史蒂夫·巴西奇 Steve Bacic,杰德·拉姆西 Jade Ramsey,詹姆斯·C·伯恩斯,妮基塔·拉姆西 Nikita Ramsey,Alix Gitter,Tadhg Kelly,塔拉·維斯特伍德,James Cavlo牙狼大河
北田祥一郎,神嶋里花,波岡一喜,ひょうろく,肥後克広,瀨戶利樹,影山浩宣,大西雅樹陽(yáng)光姐妹淘2011
沈恩敬,閔孝琳,姜素拉,南寶拉,陳熙瓊,金時(shí)厚,柳好貞,樸真珠,李妍京,金甫美,千玗嬉,李璟榮同類精選
影視排行
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.
藍(lán)調(diào)之歌
休·杰克曼,凱特·哈德森,邁克爾·因佩里奧利,費(fèi)舍·史蒂芬斯,詹姆斯·貝魯什,艾拉·安德森,金·普安公主,穆斯塔法·沙基爾,Bob Roseman,杰森·華納·史密斯,羅伯特·約翰·加拉格爾,Eva Kaminsky,Beth Malone,馬特·戈?duì)査够?Sean Allan Krill,T. Oliver Reid,Tom O'Keefe,鮑里斯·倫敦,Johnny Olmez,Faye Tamasa影片改編自真實(shí)故事，講述兩名時(shí)運(yùn)不佳的音樂人（休·杰克曼與凱特·哈德森 飾）組成一支充滿歡樂氣氛的尼爾·戴門致敬樂團(tuán)，證明了尋找愛情和追逐夢(mèng)想永遠(yuǎn)不會(huì)太晚。
獵殺大行動(dòng)
亞歷克·鮑德溫,Kelly Lynch,Mary Stuart MastersonA hardened New Orleans cop, Dave Robicheaux, finally tosses in the badge and settles into life on the bayou with his wife. But a bizarre plane crash draws him back into the fray when his family is viciously threatened.
阿爾及爾之戰(zhàn)
卜拉欣·哈賈季,讓·馬丹,Yacef Saadi,Samia Kerbash,Ugo Paletti,Fouzia El Kader,Mohamed Ben Kassen一九五四年十月一日，以法屬阿爾及利亞首都阿爾及爾的卡斯巴為中心，爆發(fā)了阿爾及利亞人反抗運(yùn)動(dòng)，這是由于阿拉伯人憎恨法國(guó)人長(zhǎng)期統(tǒng)治而引起的。人們四處搞破壞，法國(guó)政府發(fā)覺事態(tài)嚴(yán)重，便于一九五七年十月七日，派馬丘將軍率領(lǐng)四十萬(wàn)大軍駐于斯拉姆地區(qū)。但是暴亂仍層出不窮，法國(guó)人的鎮(zhèn)壓行動(dòng)開始升級(jí)。