我的辦公室老婆
Tae-san,暫無內(nèi)容who暫無內(nèi)容is暫無內(nèi)容an暫無內(nèi)容elite暫無內(nèi)容employee暫無內(nèi)容in暫無內(nèi)容company,暫無內(nèi)容has暫無內(nèi)容two暫無內(nèi)容wives暫無內(nèi)容One暫無內(nèi)容is暫無內(nèi)容Hyun-ah暫無內(nèi)容who暫無內(nèi)容is暫無內(nèi)容his暫無內(nèi)容wife,暫無內(nèi)容and暫無內(nèi)容the暫無內(nèi)容other暫無內(nèi)容is暫無內(nèi)容Yu-mi暫無內(nèi)容who暫無內(nèi)容is暫無內(nèi)容his暫無內(nèi)容office暫無內(nèi)容wife...
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劇情簡介
Tae-san,暫無內(nèi)容who暫無內(nèi)容is暫無內(nèi)容an暫無內(nèi)容elite暫無內(nèi)容employee暫無內(nèi)容in暫無內(nèi)容company,暫無內(nèi)容has暫無內(nèi)容two暫無內(nèi)容wives暫無內(nèi)容One暫無內(nèi)容is暫無內(nèi)容Hyun-ah暫無內(nèi)容who暫無內(nèi)容is暫無內(nèi)容his暫無內(nèi)容wife,暫無內(nèi)容and暫無內(nèi)容the暫無內(nèi)容other暫無內(nèi)容is暫無內(nèi)容Yu-mi暫無內(nèi)容who暫無內(nèi)容is暫無內(nèi)容his暫無內(nèi)容office暫無內(nèi)容wife...
同類好片
雉岳山
尹均相,金叡園,延濟(jì)旭,裴格林競時出擊
王韜,魏小歡,江佳桐,李江瑤意外空間
胡伯托·巴斯托,Erick Trinidad Camacho,Santiago Mendoza Cortes,Adrián Ladrón de Guevara,Enrique Mendoza,埃爾南·門多薩,勞爾·門德茲我是山姆
西恩·潘,達(dá)科塔·范寧,米歇爾·菲佛,黛安·韋斯特,洛雷塔·迪瓦恩,理查德·希夫,勞拉·鄧恩終極囚禁
Jascha Washington,Whitney Hoy,Marc Donato,Justin Arnold,Travis Tedford,Julin,Lindsay Seidel,Mark Nutter,Hunter Garner,Eric Isenhower,Preston Flagg,Matthew Posey,Laura Ashley Samuels,Vincent Silochan,Farah White,Daniel Ross,Ryan Hayden,Morgana Shaw憤怒的黑人女孩與她的怪物
Chad L. Coleman,Laya DeLeon Hayes,丹澤爾·惠特克導(dǎo)演精選
卡薩諾瓦1976
意大利導(dǎo)演費(fèi)德里克．費(fèi)里尼的中期經(jīng)典作《八部半》是其成熟高峰期作品，此后開始走向糜爛而至腐敗，偏于肉欲放縱和自我沉溺，像《費(fèi)里尼之薩蒂尼康》（六九年）和本片，都是糜爛頹廢的出色力作。本片反映了十八世紀(jì)基督道德不振后的上流腐化放縱，費(fèi)里尼盡情借題發(fā)揮，展現(xiàn)出精英文藝在人欲橫流下的腐爛情態(tài)。大情人卡薩諾華是在情場屢戰(zhàn)屢勝的“性斗士"，不斷獵艷，還參加造愛競賽。但這大情人苦于人人只重他的性愛能力，不重視他經(jīng)世濟(jì)民治國的才學(xué)。而且女人們對他都“有性無愛"，當(dāng)他衰老得失去性魅力之后，就只能把一個機(jī)械女人當(dāng)作夢中情人，很可悲可憐。
等待方舟
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.
鱷魚變
一個女孩在被催眠下,講出了她身世的秘密,原來她的丈夫在結(jié)婚當(dāng)晚神秘消失,她多方尋找最后發(fā)現(xiàn)了丈夫身上的秘密,而她的丈夫竟變成了...