拋掉書本上街去

　　圣誕前夜，雖然家人熱切地期盼，但美麗干練的女律師安吉拉（瑞秋·尼科爾斯Rachel Nichols 飾）仍在辦公室努力工作，進(jìn)行最后的沖刺。繁冗的工作終至尾聲，安吉拉獨自下到地下車庫，準(zhǔn)備驅(qū)車回家。不過她的車無論如何也發(fā)動不了，車庫電梯門也被鎖住，于是她只好向保安托馬斯（韋斯·本特利 Wes Bentley 飾）求助。托馬斯友善恭敬，熱情施以援手，卻不知其心中藏著怎樣的黑暗念頭。　　寫字樓大門緊鎖，致使準(zhǔn)備乘計程車回家的安吉拉在此返回保安室求助托馬斯。時機(jī)業(yè)已成熟，托馬斯露出猙獰面目，他綁架了安吉拉，強(qiáng)迫她參加自己的圣誕晚宴。這個愛慕安吉拉的小男人，給安吉拉帶來一個宛如噩夢般的圣誕節(jié)……

　　樸信陽飾演父親車勝道（音譯），李民基（李暋起）飾演潘神父（姓為音譯）?！　≡撈v述在為女兒舉辦葬禮的三天時間中，與寄生在死去女兒心臟中突然蘇醒的惡魔進(jìn)行斗爭的超自然電影。

影片講述了天機(jī)門被懸刃衛(wèi)以通敵叛國罪滅門后，氣劍宗葉梵星受父命潛入懸刃衛(wèi)查探真相，并與天機(jī)門唯一幸存者夏璃月相遇，二人共同揭露背后陰謀，誅殺叛徒并守護(hù)家國的故事

　　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.