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交響詩篇超進(jìn)化3
內(nèi)詳暫無簡(jiǎn)介
無處釋放我
杰瑞米·艾倫·懷特,杰瑞米·斯特朗,保羅·沃爾特·豪澤,斯蒂芬·格拉漢姆,奧黛莎·楊,馬克·馬龍,蓋比·霍夫曼,大衛(wèi)·克朗姆霍茨,格蕾絲·古默,哈里森·吉爾伯特森,約翰尼·坎尼扎羅,琳恩·A·弗里德曼,斯蒂芬·辛格,伊萬·阿馬羅·布隆,莎拉·斯洛博達(dá),克里斯托弗·杰伊姆斯,格雷格·普朗科,克雷格·杰拉蒂,阿拉貝拉·奧利維婭·克拉克,洛蕾娜·奧斯塔影片聚焦布魯斯·斯普林斯汀打造1982年的著名專輯《Nebraska》時(shí)期，作為年輕音樂人的他努力應(yīng)對(duì)成功的壓力，和令人困擾的過往。
犯罪讀者俱樂部
Veki Velilla,Iván Pellicer,阿爾瓦羅·梅爾,卡洛斯·阿爾凱德,瑪麗亞·賽爾祖埃拉,普利西婭·戴爾加多,丹尼爾·格勞,Carmela Lloret,Ane Rot,Hamza Zaidi一群年輕人在一個(gè)服裝笑話中串謀，以致命的事故和沉默的協(xié)議告終，一群年輕人將受到一位匿名作家的威脅，他想揭露他的黑暗秘密。他們的跟蹤者威脅要在社交媒體上發(fā)布一本以他們?yōu)樵偷难瓤植佬≌f。每一章都會(huì)有一個(gè)人死去。由于彼此不信任，這群人將在大學(xué)校園中央開始一場(chǎng)生存之戰(zhàn)。他們中的任何一個(gè)人都有可能成為下一個(gè)受害者，或者兇手。
圍困2
尤里·索洛明,葉甫蓋尼·列別杰夫,伊琳娜·阿庫洛娃,弗拉季斯拉夫·斯特爾熱利奇克,亞歷山大·拉辛,鮑里斯·戈?duì)柊屯蟹?謝爾蓋·哈欽科,Roman Gromadsky,Aleksei Presnetsov,米哈伊爾·烏里揚(yáng)諾夫,丹尼爾·薩加爾,Stanislav Fesyunov,Vladimir Voronov,列夫·佐洛圖欣,Igor Komarov,Gerbert Dmitriev,German Khovanov,Oleg Khromenkov,Rudolf Chelishchev,Vladimir本片是蘇聯(lián)偉大衛(wèi)國(guó)戰(zhàn)爭(zhēng)系列史詩巨片之一部。影片盡情歌頌了蘇聯(lián)人民，在德國(guó)法西斯圍困列寧格勒的900個(gè)艱難的日日夜夜，所表現(xiàn)出來的頑強(qiáng)精神。影片及表現(xiàn)了蘇軍大本營(yíng)對(duì)列寧格勒的戰(zhàn)略布防，也表現(xiàn)出列寧格勒市民面對(duì)生死的堅(jiān)忍不拔。同時(shí)也是為數(shù)不多的蘇聯(lián)戰(zhàn)爭(zhēng)影片，客觀地表現(xiàn)了戰(zhàn)爭(zhēng)初期紅軍失利，以及紅軍將領(lǐng)伏羅希洛夫元帥組織列寧格勒城防的失敗。影片還展現(xiàn)了列寧格勒基洛夫工廠，冒著的德軍轟炸，堅(jiān)持為前線生產(chǎn)武器，以及軍隊(duì)和市民通過城市唯一與外界的通道——拉多加湖通道，運(yùn)送糧食、武器和其他戰(zhàn)略物資的場(chǎng)面。該片還較為詳實(shí)地展示了希特勒攻占列寧格勒的計(jì)劃，以及紅軍與市民聯(lián)手防御，共同抗敵的畫面。這部影片，將戰(zhàn)爭(zhēng)的全景展示與戰(zhàn)壕細(xì)節(jié)完美地結(jié)合起來，直到今天仍不失為一部反法西戰(zhàn)爭(zhēng)的優(yōu)秀影片，很值得觀賞和借鑒。
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.
空中輪胎
長(zhǎng)瀨智也,藤岡靛,高橋一生,深田恭子,岸部一德,笹野高史,寺脅康文,小池榮子,阿部顯嵐,中村蒼,室毅,柄本明,佐佐木藏之介,升毅,谷村美月赤松德郎是個(gè)腳踏實(shí)地的小型運(yùn)輸公司老板，一直努力維持公司，然而某天他公司的貨車發(fā)生輪胎飛脫導(dǎo)致年輕母親死亡的事件，在警方和媒體都認(rèn)為他是殺人兇手之時(shí)，赤松查出全國(guó)都出現(xiàn)類似的事故，全部都涉及大型汽車制造商「希望汽車公司」的汽車，于是赤松為了證明自己無罪討回公道，只身挑戰(zhàn)龐大企業(yè)。