劇情簡(jiǎn)介
nbsp;超過20種xing愛場(chǎng)面，絕對(duì)值得珍藏的飛機(jī)恩物！正職做愛、兼職打麻雀的咸球與Q.Q.拍拖兩年，幾乎所有正常的xing愛姿勢(shì)都試過，二人也對(duì)枯燥的xing生活感到乏味，認(rèn)為要尋尋新的衝激。咸球有一雀友兼死黨滿仔，其釹友小MAY青春可愛、身材惹火，早令咸球充滿xing幻想，一直希望跟她上床。
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詛咒之刃
A large villa belonging to a collector that is about to be restored into a museum traps project workers who are carrying out a survey. A curse is released, killing the humans inside one by one
安吉的治療
拉內(nèi)特·塔切爾,肖恩·尼爾森,精華阿特金斯十年前，一位在派對(duì)上被強(qiáng)奸的年輕女子，飽受創(chuàng)傷，抓住難得的機(jī)會(huì)，向施暴者反擊。然而，復(fù)仇的甜蜜滋味，卻讓她變成了多年來一直恐懼的那個(gè)怪物。這段驚險(xiǎn)刺激的旅程將讓你緊張不安，模糊是非對(duì)錯(cuò)的界限。隨著權(quán)力格局的不斷變化，安吉的治愈之路也引出了一個(gè)問題：“為了擺脫創(chuàng)傷，你愿意付出多少？”
停滯
Dan Palmer,Tamaryn Payne,Mark Holden講述一個(gè)看門人被困在一個(gè)女廁所，遇到一批僵尸的攻擊……
提線木偶
李忠秀,具智成,韓素英學(xué)識(shí)淵博偉岸帥氣的任智勛（李忠秀 飾）是小有名氣的精神科醫(yī)師，他偏向冷靜思維人與人之間的情感，將一切都?xì)w于最理性科學(xué)解釋，內(nèi)心雖感深深孤獨(dú)，卻時(shí)常和不同的女子夜夜歡歌，雙棲雙宿，一味沉湎肉體的歡愉。他的同事兼好友俊基則不然，是一個(gè)追求真愛的傳統(tǒng)男子?？』ㄟ^相親結(jié)識(shí)美麗的提線木偶師賢貞（具智成 飾），然而對(duì)方仿佛隱藏的無盡的心事。賢貞時(shí)常會(huì)看到恐怖的鬼影出現(xiàn)在她的面前，有時(shí)會(huì)莫名其妙失去知覺。為了幫助女友擺脫困境，俊基拜托智勛采用催眠的辦法為賢貞治療?！ 〈呙哌^程中，賢貞講述了自己隱秘的過去，并開始表現(xiàn)出妖冶鬼魅的人格。禁不住誘惑，智勛利用催眠跨越禁區(qū)，全然不計(jì)任何后果……
春光乍泄
張國(guó)榮,梁朝偉,張震,格利高里·戴頓黎耀輝（梁朝偉）與何寶榮（張國(guó)榮）是一對(duì)同性戀人，為了有新的開始，他們懷著美麗的夢(mèng)想（去看南美洲大瀑布）離開香港來到阿根廷，卻在布宜諾斯艾利斯迷了路。黎耀輝想安下心來過日子，無奈何寶榮于夜夜笙歌中放縱著自己的生命，以期找尋更多的刺激，只當(dāng)黎耀輝是他受傷后的港灣，兩人分歧 、爭(zhēng)吵越來越多，心的距離越來越遠(yuǎn)。黎耀輝明白過去的日子不可能再?gòu)?fù)返時(shí)，決定離開何寶榮，而正是在他離開后，絕望的意味（對(duì)黎耀輝的愛）才在何寶榮的腦海中完整地浮現(xiàn)。
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.
死因無可疑
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