紅色之路
講的是一路面監(jiān)控的工作人員在看到一個曾經(jīng)傷害到她女兒的男人的時候.為了接近和把這男人送到監(jiān)獄里所做的一切事.那怕是為了得到這男人的-而去和這男人ML. 杰姬（凱特 ;迪基 Kate Dickie 飾）的工作是守候在;城市之眼系統(tǒng)的操控室內(nèi)，通過遍布城市的攝像頭靜靜守護(hù)夜色中的人們，這份靜默的工作就像杰姬此時的生活：在失去丈夫以后，她和冷漠的情人保持著若有如無的關(guān)系，同事之間最低限度的交流，還有疏遠(yuǎn)的雙親，這一切映襯她封凍的情感。某夜，一個出現(xiàn)在攝像頭中的身影打破了杰姬的寧靜心緒，杰姬開始整日觀察這個叫做克萊德 亨德森（托尼 庫蘭 Tony Curran 飾）的男人，她追蹤克萊德與周圍人的動向，甚至來到克萊德居住的;紅色之路 一幢住著不少刑滿釋放人員的公寓，并混入其家中?？巳R德為什么引起杰姬的注意？他們之間曾經(jīng)發(fā)生過什么？
在線看
同款熱播
此時此地
蒙·康菲多,Lesley Lina,Yukihiko Mizomoto,尾野真千子,曼尼·帕奎奧,田邊桃子,Lou Veloso,Buboy Villar,結(jié)城貴史職業(yè)拳擊手神山英次在菲律賓試圖東山再起，卻始終未能獲得比賽機會，轉(zhuǎn)眼已至不惑之年。就在此時，長期失聯(lián)的女兒桃子突然造訪，命運的齒輪由此轉(zhuǎn)動。失去母親后無處可去的桃子，漂洋過海來投奔父親。 異國菲律賓的屋檐下，這對父女開始了生澀的同居生活。血緣的羈絆難以輕易填補十余年的空白，兩人笨拙地摸索著親子關(guān)系的形狀。 女兒身上總帶著“另一個自己”的影子，這段充滿磕絆卻暗藏溫情的日常，讓曾經(jīng)視野狹隘的神山逐漸學(xué)會環(huán)視周遭——塬來注視著他的，不止是桃子，還有更多人的目光…… 當(dāng)比賽機會奇跡般降臨，英次為贏得屬于他們的容身之處毅然踏上擂臺。這部以拳擊為背景的作品，最終講述的是關(guān)于“父”與“子”共同成長的生命物語。
超級黑暗時代
歐文·坎貝爾,查理·塔漢,伊麗莎白·卡布奇諾,馬克斯·塔利斯曼,索耶·巴斯,艾米·哈格里夫斯,安德亞·雷諾克斯,Ethan Botwick,Philip H. Ashley,Justin Rose,Kortnee Rumph,Samantha Jones,Anni Krueger,Jeffrey Alan Solomon,Carl Arcilesi故事發(fā)生在上世紀(jì)90年代的一個美國小鎮(zhèn)上。扎克和喬西從童年時就是最好的朋友，他們每天一起騎車上下學(xué)，放學(xué)后一起玩耍，甚至喜歡上同一個女孩。然而平靜的生活在某天下午被徹底打破了。聚會因大麻而失控，朋友達(dá)里爾在教室里失血過多身亡，男孩們恐慌無措地要彼此發(fā)誓保密，扎克簡單的生活仿佛被撕開了一道巨大的口子，整日被罪惡感壓迫地喘不過氣，喬西則索性不再上學(xué)，甚至不再走出家門一步。曾經(jīng)密不可分的兩個男孩在數(shù)日后便產(chǎn)生了不可逾越的鴻溝……
拯救地球
艾瑪·斯通,杰西·普萊蒙,艾丹·德爾比思,斯塔夫羅斯·哈爾基阿斯,艾麗西亞·希爾維斯通,帕文德·謝爾吉爾,瓦妮莎·恩格,亞伊薩,塞德里克·迪莫爾內(nèi),馬克·T·劉易斯,莫瑪·切瑞,卡門·加林德斯·巴雷拉,羅杰·卡瓦略兩名深信陰謀論的年輕人綁架了一位有權(quán)有勢的大型企業(yè)女首席執(zhí)行官（艾瑪·斯通 Emma Stone 飾），因為他們堅信她其實是個企圖摧毀地球的外星人。
恐龍·怪鳥的傳說
渡瀬恒彥,林彰太郎,沢野火子,津島智子,牧冬吉『ジョーズ』を発端にしたパニック映畫ブームにあやかり東映が発表した作品。富士五湖の中でも地味な西湖、精進(jìn)湖を舞臺に、一大スペクタクルが展開する。
自拍復(fù)印機
Shenina Cinnamon,奇科·庫爾尼亞萬,Lutesha,杰羅姆·庫尼亞,迪婭·潘德拉,Giulio Parengkuan,Mian Tiara,魯思·馬里尼,盧克曼·薩爾迪,Rukman Rosadi,Landung Simatupang,雅彥·魯伊安,Elisabeth Pasaribu,Budi Ros,東尼·達(dá)瑪拉本片講述了主人公蘇爾因醉酒的一張自拍在網(wǎng)上瘋狂流傳后被取消享有獎學(xué)金的資格，她的任課教師也受其牽連，并怒斥蘇爾。但蘇爾對于醉酒的當(dāng)晚發(fā)生的事情毫無記憶。于是，她開始向朋友尋求幫助以究其原委。
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·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.