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宇宙之門
迪安娜·羅素,尼爾·霍普金斯,托勒密·斯洛克姆,格雷琴·洛奇,基思·赫德森,娜塔莎·戈特,喬治娜·布萊克利奇,Michele Weaver,Clint Jung,Paul McCarthy-Boyington,Salvita Decorte,Shellye Broughton,Danielle Lewis,Phet Mahathongdy,Albert A. Vega精靈寶可夢:去往超克的時空
松本梨香,大谷育江,上田祐司,豐口惠美,小櫻悅子,林原惠美,三木真一郎,犬山犬子,西村千奈美,雪野五月,小西克幸,阪口大助,伊東美彌子,古島清孝,藤本讓,岸祐二,熊井統(tǒng)子,真堂圭,三宅健太,逢坂力,中西英樹,川上貴史,傳坂勉,寺谷美香,米澤圓,石冢運升,秋山龍次,馬場裕之,山本博,高島政宏,中川翔子,山寺宏一,北乃綺,美輪明宏龍口走蛟
邪貓劫
Toni Hudson,Eric Larson,Alex Cord血灑胭脂馬
羅伯特·蒙哥馬利,旺達·亨德里克斯失真的畫
威廉·達福,斯科特·斯比德曼,彼得·斯特曼,克里·杜瓦爾,Samantha MacIvor同類推薦
無法在你的臉上哭泣
芳根京子,高橋海人,西川愛莉,武市尚士,中澤元紀,前原滉,林裕太,大塚寧寧,赤堀雅秋,片岡禮子,山中崇本片改編自同名小說,故事始于高一夏天,坂平陸(高橋海人 飾)與水村真奈美(芳根京子 飾)在泳池事故后靈魂互換。兩人堅信能恢復原狀,苦尋方法,然而15年過去,依舊未能換回。升學、初戀、就業(yè)、結婚、生子,他們只能以彼此的身體走完人生重大節(jié)點。直到30歲那年夏天,真奈美突然說:“我或許知道怎么換回來了?!泵\的齒輪,開始再次轉動——
回應我
蘇菲·王爾德,阿里·麥卡錫,哈米什·菲利普斯,基特·埃爾哈特·布魯斯,薩拉·布羅肯莎,杰登·戴維森,桑尼·約翰遜,馬庫斯·約翰遜,基達安·澤勒克,詹姆斯·奧利弗,喬·伯德,杰特·加茲利,亞歷珊德拉·詹森,Dog,Helene Philippou,米蘭達·奧圖,佐伊·特雷克斯,克里斯·阿洛西奧,奧蒂斯·丹吉,利安娜·瓦爾斯曼,亞歷珊卓婭·斯蒂芬森,亞采克·科曼孤獨的少女米婭沉迷于通過陶瓷手召喚靈魂的刺激,但當她面對一個自稱是她死去母親的靈魂時,她釋放了一場超自然力量的瘟疫,并努力決定她可以信任誰,是選擇活著的人還是死者?
朝圣
柳西亞·加西亞,米奇·馬丁,特里斯坦·烏羅阿,何塞·安赫爾·艾力格,莎拉·卡薩斯諾瓦斯,米麗亞姆·加列戈,珍妮特·諾瓦斯,席琳·蒂爾,米奇·羅布萊斯,塞爾吉奧·昆塔納,大衛(wèi)·薩拉伊瓦從小失去雙親的瑪麗娜18歲了,為了申請獎學金,她必須離開養(yǎng)父母,前往大西洋海岸,從她從未謀面的祖父母處獲得簽名。新姨媽、叔叔、堂親,她在眾多新家人間周旋,不確定自己是會被接納還是排斥。這段旅途喚醒了瑪麗娜塵封已久的情感,揭開家族往昔的隱秘創(chuàng)傷,她由此拼湊起那些支離破碎、往往矛盾的記憶碎片,試圖重現(xiàn)她幾乎遺忘的父母身影。
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.
勝利之歌
詹姆斯·卡格尼,瓊·萊斯利,沃爾特·休斯頓,理查德·沃爾夫本片本講述的是:喬治·柯漢是本世紀前期著名的百老匯表演藝人,身兼演員、作家、作曲家與舞蹈家于一身,他的生平故事可以說反映了四十年代以前美國娛樂事業(yè)的生態(tài)。本片是導演邁克爾·柯蒂茲與編劇愛潑斯坦尼兄弟合作的另一佳片,描述柯漢從一個地位卑微的兒童演員力爭上游變成百老匯巨星的一生。以出色的制作和歌舞場面重現(xiàn)當年的娛樂圈面貌,并側面反映了當時的美國社會脈動。在三十年代以主演黑社會片享有盛譽的詹姆斯·卡格尼改變戲路,在銀幕上又唱又跳,生動而細膩地注釋了主人翁的形象和個性,因而勇奪奧斯卡最佳男主角金像獎,片中出色的歌舞表演亦令人看得眉飛色舞