影片推薦
時速72
弗蘭克·斯帕諾,喬治·阿克拉姆天出血
常戎,蓋麗麗,于紹康,楊兆泉,洪濤第27天生死劫
吉恩·巴瑞,Valerie French,喬治·沃斯科維奇,阿諾德·莫斯,Stefan Schnabel,拉爾夫克蘭頓,Friedrich von Ledebur,保羅·伯奇最后一槍2025
Lham Somphol Rungphanit,薩里卡·塞思蘇帕,帕塔納·埃桑固笑臉殺人狂
羅南·魯賓斯坦,米婭·塞拉菲諾,克里斯平·格洛弗,阿馬迪厄斯·塞拉菲尼,阿什莉·里卡茲,加勒特·科菲,科迪·辛普森,Daniel Covin,Rachel Crowl,Gus Langley,Corey Prather近戰(zhàn)
杜夫·龍格爾,吉娜·梅,邁克爾·帕爾,巴沙爾·拉海爾,詹姆斯·查爾克同類精選
一個叫小小船的男孩
J·K·西蒙斯,杰克·布塞,諾爾·古格雷米,盧·坦普爾,麗莎·德·拉佐,伯納德·庫里,Patricia Kalis,Jamille James,尼克·法內(nèi)爾,Julian Atocani Sanchez,Addam Bramich,Miranda Skerman,Keanu Wilson,Zeyah Pearson,杰西卡佩斯龍口走蛟
貘之歌
登帕卡農(nóng)
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平·克勞斯貝,弗雷德·阿斯泰爾,瑪喬麗·雷諾茲,弗吉尼亞·戴爾,沃爾特·艾貝爾,路易絲·比弗斯,歐文·培根選個家來愛
海瑟·格拉漢姆,朱麗婭·斯蒂爾斯影視排行
捕蛇者說
霧山捕蛇人深陷苛政與蛇禍雙重絕境,異變的陰影籠罩村落,一場關(guān)乎救贖與守護的博弈悄然開啟。
草莓之夜2013
竹內(nèi)結(jié)子,西島秀俊,小出惠介,宇梶剛士,丸山隆平,津川雅彥,渡邊一計,遠藤憲一,高島政宏,生瀨勝久,武田鐵矢,染谷將太,金子統(tǒng)昭,金子賢,鶴見辰吾,石橋蓮司,田中哲司,三浦友和,大澤隆夫,橫山美雪仿佛永不停歇的連綿之雨,引領(lǐng)著成軍四年半的姬川班前往終點。在一周時間內(nèi),東京連續(xù)發(fā)生三起作案手法雷同的殺人事件,死者全部隸屬最大黑幫大和會的下屬組織。警方旋即成立搜查總部,組隊四課堅持認定該案件因繼承人之位而起,而姫川玲子(竹內(nèi)結(jié)子 飾)提出質(zhì)疑,導(dǎo)致總部分裂。隨之而來的神秘電話,令玲子將目標鎖定在柳井健斗(染谷將太 飾)的陌生男子身上,然而高層卻下令她禁止追查柳井這條線索。絕不隨便屈從強權(quán)的玲子,在菊田和男(西島秀俊 飾)等姬川班伙伴的掩護下展開獨立調(diào)查,在此過程中,柳井不堪回首的過去以及和警方錯綜復(fù)雜的關(guān)系逐漸明朗。而和自稱房地產(chǎn)商人的牧田勛(大澤隆夫 飾)邂逅,使得同樣背負著傷痕的玲子命運發(fā)生轉(zhuǎn)變…… 本片根據(jù)譽田哲也的系列懸疑小說《草莓之夜》改編,為同名電視劇的劇場版。
紐倫堡
羅素·克勞,拉米·馬雷克,利奧·伍德爾,邁克爾·珊農(nóng),理查德·E·格蘭特,科林·漢克斯,約翰·斯拉特里,瑞安·施密特,洛特·弗貝克,馬克·奧布萊恩,安德烈亞斯·皮特斯柯曼,史蒂文·佩西,莉迪亞·佩克漢,丹·凱德,羅德里克·希爾,保羅·安東尼·巴伯,唐納德·薩基·馬凱,沃爾夫?qū)と麪柲?杰瑞米·惠勒,菲利普·雅克改編自《納粹與精神病醫(yī)生》,聚焦二戰(zhàn)結(jié)尾,紐倫堡法庭對德國勞工陣線領(lǐng)導(dǎo)人羅伯特·萊伊的審判(其后來在獄中自殺),以被委任來對納粹頭領(lǐng)們進行評估的美軍精神科醫(yī)生Douglas Kelley的視角展開。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,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·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.