佐羅風(fēng)流歷險(xiǎn)記
十九世紀(jì)的洛杉磯，總督路易斯.伯拿莎利奧（Jude Farese 裘德 ;弗雷斯 飾）專橫跋扈，魚肉鄉(xiāng)民，在其殘酷統(tǒng)治之下的百姓叫苦連天，哀鴻遍野。 居住在城里的貴族青年唐迪亞哥（Douglas Frey 道格拉斯 弗雷 飾）是一名正義感十足的劍術(shù)高手，他不滿總督的行徑，決心化身俠客懲惡揚(yáng)善。白天迪亞哥是嬌柔華貴的貴族公子，晚上則變成帥氣瀟灑的俠客佐羅。當(dāng)然，這個佐羅和我們認(rèn)識的佐羅有所不同，對于頭懷送抱的美女他不但來者不拒，而且也從不放過任何卡油的機(jī)會。這個;革命、生產(chǎn) ;兩不誤的英雄在小鎮(zhèn)上上演了連場好戲
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十九世紀(jì)的洛杉磯，總督路易斯.伯拿莎利奧（Jude Farese 裘德 ;弗雷斯 飾）專橫跋扈，魚肉鄉(xiāng)民，在其殘酷統(tǒng)治之下的百姓叫苦連天，哀鴻遍野。 居住在城里的貴族青年唐迪亞哥（Douglas Frey 道格拉斯 弗雷 飾）是一名正義感十足的劍術(shù)高手，他不滿總督的行徑，決心化身俠客懲惡揚(yáng)善。白天迪亞哥是嬌柔華貴的貴族公子，晚上則變成帥氣瀟灑的俠客佐羅。當(dāng)然，這個佐羅和我們認(rèn)識的佐羅有所不同，對于頭懷送抱的美女他不但來者不拒，而且也從不放過任何卡油的機(jī)會。這個;革命、生產(chǎn) ;兩不誤的英雄在小鎮(zhèn)上上演了連場好戲
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陰陽師2001
公元794年，日本桓武天皇時期，京都長岡被其胞弟早良親王怨靈詛咒，天災(zāi)人禍不斷?；肝涮旎时黄冗w都平安京，由此開啟四百年平安時代序幕。彼時權(quán)貴內(nèi)部斗爭激烈，人民生活疾苦，世間因此怨靈叢生，人、鬼與怪物屏息同棲。隸屬于宮廷陰陽寮的陰陽師們，作為平衡天、地、人、鬼間矛盾的存在，自此活躍在歷史舞臺上，其中最為耀眼的便是身世成謎的安倍晴明（野村萬齋 飾）。右近衛(wèi)中將源博雅（伊藤英明 飾）受托拜訪安倍晴明，被所目睹的奇異景象及晴明的個人魅力深深折服；晴明亦被博雅正直的品德吸引。故事便從兩人宿命相識，結(jié)下珍貴情誼開始。 宮廷內(nèi)近來異事頻發(fā)。左大臣藤原師輔之女誕下敦平親王，嬰兒降世卻身負(fù)詛咒。晴明招來蜜蟲（今井繪理子 飾）和神秘女子青音（小泉今日子 飾），與博雅一同化解惡咒，卻反遭誣陷。原來一切皆是陰陽頭道尊（真田廣之 飾）所為。他利用左右大臣間矛盾與后妃間爭寵頻生事端，更欲召喚出150年前的最強(qiáng)怨靈早良親王，將平安京徹底顛覆…… 影片根據(jù)夢枕貘《陰陽師》系列小說改編。
留校聯(lián)盟
預(yù)科學(xué)校巴頓學(xué)院的老師保羅（保羅·吉亞瑪提 飾）不太受歡迎，不管是學(xué)生、老師還是校長，都不太喜歡他，他們覺得他浮夸又僵化。在1970年的圣誕假期，保羅留在了學(xué)校監(jiān)督無法回家的學(xué)生。幾天后，只有一個學(xué)生留了下來——一個名叫安格斯的15歲搗蛋鬼，他是一個被不良行為破壞的好學(xué)生，總是在被開除的邊緣試探。與保羅和安格斯一起留下的還有學(xué)校廚師長瑪麗，一個為特權(quán)階層的兒子們提供服務(wù)的非裔美國婦女，她自己的兒子最近在越南失蹤了。這三個截然不同的失意者組成了一個奇怪的圣誕家庭，在新英格蘭大雪紛飛的兩個星期里，分享著不幸經(jīng)歷，并意識到他們中沒有人感謝自己的過去。
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.