喜愛夜蒲3
2013 年周末晚上，Sara(羽翹 飾)、Jeana(何佩瑜 飾)、Papa(郭穎兒 飾)，三人聚首蘭桂坊，浩浩蕩蕩，出入蒲場(chǎng)。鬼妹仔性格Jolie(許亦鬼妹仔性格Jolie(許亦妮 飾)，伴侶有如聯(lián)合國(guó)，頻頻轉(zhuǎn)換，卻不肯正經(jīng)拍拖。夜場(chǎng)老板娘兼堂姐May 對(duì)她寵愛有加，經(jīng)常撮合她與夜場(chǎng)經(jīng)理Jacky(陳柏宇飾)。雖已有同居女友Jeana，但二人同居關(guān)系已發(fā)展到純粹同住，感情淡無(wú)可淡，而Jacky 因Jolie 酷似前女友而對(duì)她產(chǎn)生好感 另一邊廂，Jeana 一直對(duì)好友Sara 的男友阿信(林德信 飾)情有獨(dú)鐘，妒忌Sara 找到內(nèi)外兼?zhèn)涞墓S盤。得悉Sara 與阿信訂出「各有各蒲，互不干涉」的規(guī)定后，多次藉機(jī)接近阿信，大獻(xiàn)殷勤 Papa 其貌不揚(yáng)，亦有體味，身上一切的缺陷，唯獨(dú)夜場(chǎng)可彌補(bǔ)。在五光十色的下，天下男子三杯過(guò)后，視力出現(xiàn)誤差，她便會(huì)蛻變成美艷女王。一次，與剛?cè)肼毞ㄡt(yī)的Parker (應(yīng)昌佑 飾)互相過(guò)電。一夜情醒來(lái)后，Papa 失去蹤影 在Boat party 上，Jolie 忽然在船頂危步而行，Jacky 出手相救。Sara 與韓國(guó)型男Kim 有所發(fā)展，Jeana 則在水底誘惑阿信；Papa 在白天下，只孤獨(dú)坐在一角 Sara 與Kim 打得火熱。Kim 帶領(lǐng)Jolie 與Sara 蒲出香港，邁向韓國(guó)。在韓國(guó)之旅，Jolie 在夜場(chǎng)出事入院，Jacky 立即飛抵韓國(guó)照顧，亦清楚自己對(duì)她的感覺，Jolie非但沒有接受，更返港逃避
即刻觀影
劇情賞析
編輯推薦
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.
騙局2024
Dean Edwards,T.L. Flint,Aaron Berg一個(gè)自私自戀狂和他囊中羞澀的摯友雇傭了一名腐敗的公證人來(lái)欺騙他疏遠(yuǎn)的兄弟。公證人在一場(chǎng)意外事故中死亡后，他們精心策劃的計(jì)劃就失敗了。
智勇三寶
許冠文,吳耀漢,陳百祥,岑建勛,陳國(guó)新,葉榮祖,午馬,林國(guó)斌,葉德嫻,胡因夢(mèng),陳欣健一次偶然中，阿秋（吳耀漢 飾）和貝多芬（岑建勛 飾）結(jié)識(shí)了犯罪調(diào)查專家阿文（許冠文 飾），志同道合的三人成為了很好的朋友。然而阿秋和貝多芬的真實(shí)身份系大盜，兩人和阿文正邪不兩立，而阿文對(duì)此并不知情，三人的關(guān)系在搖搖欲墜之中維系著艱難的平衡。 某日，阿文在商場(chǎng)里撞見了自己的妻子杜白莉（胡茵夢(mèng) 飾）正在和珠寶富商阿楊（翁世杰 飾）約會(huì)，遭到了背叛的阿文感到十分憤怒，決定對(duì)阿楊進(jìn)行報(bào)復(fù)。阿文駕駛著自己的機(jī)車要和阿楊的豪車一決高下，哪知道遭遇了車禍，不僅自己受傷，坐騎也報(bào)廢無(wú)法再騎，窘迫的時(shí)刻，阿秋和貝多芬及時(shí)出現(xiàn)，替阿文解了圍。
孩子們安好
卡米爾·科坦,莫妮亞·喬柯里,朱麗葉·阿曼尼特,Mano? Varvat,Nina Birman,紀(jì)堯姆·谷伊,瑪麗亞姆·阿赫迪歐,弗蘭基·瓦拉赫,Tania Dessources,Camille Lethuillier,馬克西姆·施邦古,Zoé Briau,Jean-Fran?ois Hoche,Pauline Roux,阿麗亞娜·納齊里,Zakariya Gouram,Anna-Marie Filippi,Zbigniew Jankowski,William Louis,Jean-René Stani多年以后，蘇珊和她的兩個(gè)孩子意外地出現(xiàn)在她姐姐珍妮的家中。起初看起來(lái)像是蘇珊在試探性地試圖重新與姐姐建立關(guān)系。但隨著晨光的出現(xiàn)，這種幻覺破滅了：蘇珊消失了……內(nèi)森·安布羅西奧尼的這部親密電影，描繪了一位被迫成為母親的女人，而她對(duì)自己的孩子幾乎一無(wú)所知。他那極簡(jiǎn)主義的敘事方式，卻充滿了深刻的共情，讓觀眾得以觀察這個(gè)新生家庭逐漸凝聚的緩慢過(guò)程，以及他們內(nèi)心的恐懼與猶豫，還有那毫無(wú)效率的國(guó)家機(jī)器的荒謬之處。這是一部法國(guó)電影，它反映了因必要性而產(chǎn)生的共同生活本質(zhì)的脆弱性，以及當(dāng)它源于愛時(shí)，它會(huì)變得多么強(qiáng)大。
魔鏡咒
Davina Karamoy,Ully Triani,Randy Nidji,Eduward Manalu,Beby Evelyn,Dian Sidik,Syifa Aulia恐怖和奇怪的事件困擾著瑪雅和她家人的生活，她懷疑舅舅和舅媽是幕后黑手，因?yàn)樗麄円恢毕胍@得瑪雅家從外公那里繼承的房子和土地。但是這種貪戀吸引了一股可怕的力量，這股力量的目標(biāo)是瑪雅全家。
美麗新世界
Julie Cobb,巴德·庫(kù)特,凱爾·杜拉,朗·奧尼爾,瑪西亞·斯特拉斯曼,迪克·安東尼·威廉姆斯,瓊內(nèi)爾艾倫,珍內(nèi)塔·阿爾內(nèi)特本片改編自“ 阿道司·赫胥黎 ”同名小說(shuō)。一個(gè)在原始社會(huì)長(zhǎng)大，通過(guò)閱讀莎士比亞自學(xué)的野蠻人，突然有一天加入了他父母所在的未來(lái)社會(huì)。然而，他不能適應(yīng)他們的生活方式……