嫂子去哪兒 (2014)

評分：4.1 播放：88萬 更新：2026-04-23
主演： 楊爵 李娜 謝霞 王宏政 于倩 

張艷（李娜 飾）和志文結(jié)婚已經(jīng)三年之久了，一直以來，家里的大小事務(wù)都由張艷一手操持，她可謂是一個非常合格的太太了。然而，這三年來，張艷的肚子一直都沒有動靜，這讓一心想要抱孫子的婆婆感到非常的不滿，三天兩頭的在夫妻兩人身上找茬。 志文有一個弟弟志偉，一直在外打工的他近期回到了家中。為了抱孫子，志文的媽媽竟然鼓勵兒子在外面找小三，與此同時，志偉深深的迷戀上了張艷，對她百般引誘，兩人終于偷嘗了禁果。志文的小三懷孕了，于是婆婆開始打起了讓兒子和兒媳離婚的算盤，剛好在這個節(jié)骨眼上，志偉和張艷的地下情東窗事發(fā)。

影片推薦

機動戰(zhàn)士高達閃光的哈薩維

小野賢章,上田麗奈,諏訪部順一,齊藤壯馬,津田健次郎,石川由依,落合福嗣,武內(nèi)駿輔,早見沙織,松岡美里,澤城千春,宮崎游,天崎滉平,綿貫龍之介,田中光,草野峻平,種崎敦美,新祐樹,綾見有紀,鷲見昂大,尼古拉·法萊那澤,越后屋浩介,藤高智大,Volcano太田,川口啟史,田村千惠,井川秀榮,吉富英治,木曾寬子,佐佐木祐介,吉田健司,高橋雛子,高橋大輔,瀧村直樹,福西勝也,佐伯美由紀,本多新也,木野日菜,內(nèi)田紳一郎,櫻岡敦子,地藏堂武大,川上洋平,磯部寬之,白井真輝,ASHLEY,JAMES,SAYAKA,山

是的2025

艾里爾·布隆茲,伊芙雷特·多,納馬·普雷斯,阿列克謝·謝列布里亞科夫,莎倫·亞歷山大,Pablo Pillaud-Vivien,Idit Teperson,Meir Fenigstein,Amit Narovliansky,Ellie Ohana,Joy Ohana,Noah Lapid Preis,阿薩夫·喬納斯,Shira Shaish,Daria Gilat Brenner,Ron Friedland,Rodia Kozlovski,Rachel Ayalo,Oded Carmi,Muriel Ha

我老婆不是人

梁家輝,關(guān)之琳,胡楓,陳雅倫,周文健,梅小惠,鄭丹瑞,黎彼得,張堅庭

毀滅的發(fā)明

盧博爾·托科什,Arnost Navrátil,米羅斯拉夫·霍盧布,弗蘭蒂澤克·斯列格爾,Václav Kyzlink,Jana Zatloukalová,休·唐斯,Frantisek Cerny,奧托·希曼內(nèi)克,Václav Trégl

不可饒恕1992

克林特·伊斯特伍德,吉恩·哈克曼,摩根·弗里曼,理查德·哈里斯,杰姆·沃爾福特,紹爾·魯賓內(nèi)克,弗蘭西絲·費舍,安娜·萊文,大衛(wèi)·木西,羅伯·坎貝爾,安東尼·詹姆斯,塔拉·弗萊德里克,貝弗利·埃略特,莉薩·雷波-馬特爾,喬西·史密斯

劇中計

詹姆斯·巴林頓,埃里克·格恩斯,Tom Hutch

同類精選

影視排行

沉默的艦隊2

大澤隆夫

在酷寒的北方海域，核潛艇大和號伴隨著莫扎特的旋律，開始了駛向紐約聯(lián)合國總部的深海航程。在美俄交界的白令海峽，一艘性能全面碾壓大和號的美國核潛艇正悄然逼近。此刻，寒冷的北冰洋上，碎裂的浮冰之間，一場激戰(zhàn)就此拉開帷幕。

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.

劫車

Ron Perlman,Saffron Burrows

　　一部更加刺激的驚悚片,今年隆重上映" 兩次金球獎提名,《頭號疑犯》的瑪利亞·貝羅擔任主演羅琳:一位飽受壓力的單身母親,受到前夫虐待的困擾,辛苦撫養(yǎng)8歲的兒子.她和兒子的世界被銀行搶劫(斯蒂芬·多爾夫飾演伊莫托斯)在逃犯劫車以后瞬間被改變,他想重新得到自己的戰(zhàn)利品.但是羅琳拒絕成為他的受害者.她準備控制然后反擊.今夜,她為了生存做的事情,即將引領(lǐng)最讓人震驚的犯罪.喬安娜·卡西迪(《六尺風云》)與凱瑟琳·丹特(《盾牌》)聯(lián)袂出演這部緊張的動作驚悚片

正義救贖

高駿,張敏

莉莉聯(lián)合男友二毛假綁架騙父王總200萬，同伙實為遭她當年陷害的前男友大頭，其目的是報復(fù)。交易前夕三方因各懷鬼胎爭斗，王總趕到救下莉莉，參與假綁架者皆因貪欲將面臨法律制裁，警示莫因欲望犯錯。