即刻觀影
劇情賞析
編輯推薦
來點(diǎn)茶泡飯如何
深川麻衣,若葉龍也,小野寺Zuru,片岡禮子,大友律,山下知子,森禮子,幸野紘子,守屋えみ,尾本貴史,遠(yuǎn)藤隆太,松尾貴史,豐原功補(bǔ),室井滋標(biāo)題中的「ぶぶ漬け（お茶漬け）どうどす」是一句眾所周知的京都表達(dá)，京都人常用這句話以委婉的方式傳達(dá)「差不多該告辭了」的意思。電影《ぶぶ漬けどうどす》以此為主題，展現(xiàn)了因京都特有的縣民性而引發(fā)的各種鬧劇，并展開了一段充滿喜劇色彩的故事。影片以從東京嫁到京都老字號(hào)扇子店的自由撰稿人澁澤まどか為主人公，描繪了〈京都人〉與從東京而來的〈外地人〉之間的攻防與沖突。
壞媽媽
米拉·庫(kù)尼斯,凱瑟琳·哈恩,克里斯汀·貝爾,克里斯蒂娜·艾伯蓋特,賈達(dá)·萍克·史密斯,安妮·瑪莫羅,烏娜·勞倫斯,恩杰伊·安東尼,大衛(wèi)·瓦爾頓,克拉克·杜克,杰伊·埃爾南德斯,維德爾·皮爾斯,莉亞·麥肯德里克,梅根·弗格森,萊爾·布羅卡托,旺達(dá)·塞克絲,凱德·曼斯菲爾德·庫(kù)克西,J·J·瓦特,安·馬奧尼,薩曼莎·博利厄,唐娜·杜普蘭提爾,克莉絲緹娜·德蘿莎,揚(yáng)·費(fèi)爾德曼,杰倫·摩爾所有人都以為，艾米（米拉·庫(kù)妮絲 Mila Kunis 飾）擁有著幸福美滿的婚姻生活——恩愛的丈夫，乖巧的孩子，優(yōu)渥的生活條件，但只有艾米自己知道，為了維系這看似光鮮的表象，她的內(nèi)心早已經(jīng)精疲力盡。丈夫把所有的家務(wù)事都一股腦的甩在她的頭上，在處理這些瑣事的同時(shí)，艾米還必須兼顧著去討好她周圍其他的媽媽們?！ 〗K于有一天，艾米再也受不了她的生活了，她離開了家庭，拋棄了丈夫和孩子，帶著閨蜜琪琪（克里斯汀·貝爾 Kristen Bell 飾）和卡拉（凱瑟琳·哈恩 Kathryn Hahn 飾），兩名同樣受到生活瘋狂壓榨的家庭主婦，三人踏上了一條瘋狂的狂歡之路。
內(nèi)幕2025
郭富城,任達(dá)華,吳鎮(zhèn)宇,方中信,陳國(guó)邦,湯怡,周勵(lì)淇,李靖筠,姜大衛(wèi),駱應(yīng)鈞,鮑起靜,黎峻,耿長(zhǎng)軍,張文杰,蘇家樂,張達(dá)倫,陳湛文,馬俊怡,鄒文正香港著名慈善基金會(huì)晚宴現(xiàn)場(chǎng)，財(cái)務(wù)總監(jiān)楊滔（任達(dá)華 飾）離奇吊死在會(huì)場(chǎng)，疑云籠罩之下，兩億善款也不翼而飛！“良知律師”馬迎風(fēng)（郭富城 飾）與“玩咖警長(zhǎng)”柯定邦（吳鎮(zhèn)宇 飾）意外被卷入其中，隨著二人調(diào)查不斷深入，慈善表象之下的駭人罪惡也接連現(xiàn)形——操縱司法、買兇殺人、走私販毒、勾結(jié)境外勢(shì)力……善意變生意，民眾的捐款竟淪為黑惡組織的血包！楊滔之死的真相到底是什么？他們能否將所有內(nèi)幕公之于眾，還社會(huì)以公道？
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.
身在其中
艾莉森·帕拉迪絲,Jean-Baptiste Tabourin,Claude Lulé,Dominique Frot,娜莎麗·羅賽,Fran?ois-Régis Marchasson,碧翠斯·黛爾,Hyam Zaytoun,塔哈·拉希姆,Emmanuel Guez,盧德維克·伯特希爾克,Emmanuel Lanzi,尼古拉斯·迪佛休爾,艾曼·賽義迪女性攝影師莎拉（Alysson Paradis 飾）和馬西歐（Jean-Baptiste Tabourin 飾）這對(duì)幸福的夫妻組成的小家庭即將迎來新的成員，但一場(chǎng)嚴(yán)重的車禍摧毀了他們美好的憧憬。馬西歐在車禍中喪生，莎拉以及未出世的寶寶僥幸存活?！ ∈フQ之夜，孤獨(dú)的莎拉待在家中，等待第二天早晨的生產(chǎn)。這時(shí)敲門聲響起，一名黑衣女（Béatrice Dalle 飾）請(qǐng)求使用電話。莎拉本能地拒絕了她，誰知黑衣女竟千方百計(jì)想要闖進(jìn)來。她的目的只有一個(gè)，搶奪莎拉那尚未出世的孩子。擋路者只有死路一條……
三十九級(jí)臺(tái)階
羅伯特·多納特,瑪?shù)铝铡た?露西·曼海姆,戈弗雷·特爾,佩吉·阿什克羅福特,約翰·勞里,海倫哈耶,懷利·沃森,格斯·麥克諾頓,查爾斯·貝內(nèi)特,馬修·博爾頓,阿爾弗雷德·希區(qū)柯克,邁爾斯·馬勒森,弗雷德里克·派珀,約翰·特恩布爾,Frank Cellier,Jerry Verno,Peggy Simpson,Ivor Barnard,Noel Birkin,Carleton Hobbs,Vida Hope,Elizabeth Inglis,James Knight,Hilda Trevelyan,S.J.音樂廳中傳來槍聲，觀眾們一片驚慌。一位外國(guó)女子（露西?曼娜海姆飾）詢問理查德?漢內(nèi)（羅伯特?多納特飾）是否可以在他家中過夜。次日該女子在被殺之前告訴理查德必須阻止間諜組織“三十九級(jí)臺(tái)階”將國(guó)家機(jī)密偷偷送出英國(guó)。漢內(nèi)為了證明自己并不是殺人兇手無奈前往蘇格蘭高地尋找線索，在火車上他尋求一位叫做帕梅拉（瑪?shù)铝?卡羅爾飾）的金發(fā)年輕女子幫助，但她卻馬上向警察告發(fā)了他。他找到了“三十九級(jí)臺(tái)階”的領(lǐng)導(dǎo)人喬丹教授，但隨即被陷害入獄。僥幸逃脫后又由于帕梅拉的告發(fā)被兩位偽裝成便衣警察的人帶走，并且他們還把帕梅拉和他銬在了一起。于是兩人攜手逃脫了出來并取得了互相的信任，然后他們?cè)俅位氐揭魳窂d，漢內(nèi)看到了上次就見過的表演。他向號(hào)稱可以回答任何問題的“記憶先生”（懷特?沃森飾）提問：“什么是三十九級(jí)臺(tái)階“，于是…… 希區(qū)柯克曾說“記憶先生“是他最喜歡的角色之一，這個(gè)角色建立在一個(gè)名叫達(dá)塔斯的真人基礎(chǔ)上，他自己小時(shí)候在倫敦看過他的表演。