即刻觀影
劇情賞析
編輯推薦
門禁2025
梅歌林·艾奇坤沃克,莫·麥克雷,布蘭登·費(fèi)拉A couple near the end of their marriage begin to encounter supernatural forces that cause them to fight for their lives.
擂臺(tái)兄弟
阿俊·阿肖坎,羅尚·馬修,維沙克·奈爾 ,Ishan Shoukath,Carmen S Mathew,Siddique,Syamaprakash M.S.,Thezni Khan,拉克施米·麥儂,Mammolotti在科欽堡，一群不合群者聯(lián)合起來創(chuàng)建了一個(gè)摔跤團(tuán)體，他們面臨內(nèi)部競爭和滑稽的打斗，并隨著成長去應(yīng)對更大的障礙。
端島計(jì)劃
蘇查·瑪娜英,阿萍雅·薩庫爾加倫蘇,吳翊歌,亞歷山大·倫德爾南、歐、尼克、竇和梅是五個(gè)剛畢業(yè)沒多久的新新人類，出于對影視行業(yè)和靈異題材的熱愛，他們拍攝了一支鬧鬼廢墟的小短片。雖然沒有獲得相關(guān)公司的認(rèn)可，但一經(jīng)上傳后很快得到網(wǎng)友的廣泛關(guān)注和支持。在此之后，專門拍攝靈異題材的制作公司鬼域（Ghost Land）聯(lián)系到他們，邀請三個(gè)人前往端島拍攝。端島是位于日本長崎一座形狀酷似軍艦的島嶼，19世紀(jì)末曾憑借豐富的礦藏贏得某大型企業(yè)的關(guān)注，但是隨著能源方式的改編如今已變成遍布廢墟的荒島?！ o所顧忌的年輕人們登上端島，期間還遭遇傳說中的美女美子的鬼魂，他們就此厄運(yùn)纏身……
馬騰你別走
林更新,李幼斌,宋茜,王彥霖,李雪琴,陳哈琳,馮雷,潘斌龍沒錢沒愛還沒心沒肺的馬騰（林更新 飾）人近中年一事無成，是旁人眼里公認(rèn)的“廢柴”！鋼廠退休骨干老林（李幼斌 飾）遵守鐵打的紀(jì)律活了一輩子本該安享晚年，身體和心理卻雙雙“亮起紅燈”！本無生活交集的兩人因?yàn)橐粓鐾岽蛘淖o(hù)工面試相遇，展開了一段啼笑皆非的有趣互救。老林為求解脫，將“協(xié)助自殺”的希望寄托在這個(gè)不靠譜的護(hù)工身上。馬騰雖然想賺錢完成女兒的心愿，但無膽害命，只能發(fā)揮自己的樂觀心態(tài)在日常中提供情緒價(jià)值給老林。二人在一段特殊的旅途中建立起生死友誼，于病痛與死亡的陰影里找到了活下去的小小微光，攜手大膽迎接未知的生活。
遁入虛無
內(nèi)森奈爾·布朗,帕茲·德拉維爾塔,Cyril Roy,Olly Alexander,Masato Tanno,Ed Spear,Emily Alyn Lind,Jesse Kuhn,Nobu Imai一場車禍奪去了父母的性命，年幼的奧斯卡和妹妹琳達(dá)發(fā)誓永不分開。成年后，奧斯卡（Nathaniel Brown 飾）漂泊來至東京，為了實(shí)現(xiàn)童年的誓言，他以兜售毒品賺取錢財(cái)，終于為琳達(dá)（Paz de la Huerta 飾）掙得了飛來東京的機(jī)票。兄妹相遇，卻終是隨波逐流的個(gè)體。在這個(gè)繁花亂墜迷人眼的大都會(huì)，奧斯卡繼續(xù)進(jìn)行毒品交易，而琳達(dá)則在一家夜總會(huì)大跳艷舞。在一次交易時(shí)，奧斯卡遭到警察圍捕，混亂中更被槍擊身亡。他的意識(shí)漸漸脫離肉體，穿梭在東京的大街小巷，關(guān)注跟隨每一個(gè)在他生命中留下痕跡的人，等待著下一場不知何時(shí)才會(huì)開始的輪回…… 本片榮獲2009年Sitges – Catalonian國際電影節(jié)最佳攝影獎(jiǎng)和評委會(huì)特別獎(jiǎng)。
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.