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午夜的太陽(yáng)
鄭知曉,車學(xué)沇賭俠大戰(zhàn)拉斯維加斯
劉德華,張家輝,陳百祥,林熙蕾,郁芳,萬(wàn)梓良,李菲,王晶,南燕地縛
拉菲·斯波,詹·穆瑞,大衛(wèi)·莫瑞瑟情棺
劉尚麟喜羊羊與灰太狼之羊年喜羊羊
祖晴,張琳,楊陽(yáng)洋,高全勝,梁穎,鄧玉婷,劉紅韻,趙娜喪尸足球
奧爾本·勒努瓦,布魯諾·薩拉曼,Charlie Bruneau,蒂法因·戴維斯,Ahmed Sylla,Patrick Ligardes,Xavier Laurent,Sebastien Vandenberghe,Alexandre Philip,Vincent Debost,Beno?t Moret同類推薦
離奇劇院
烏多·基爾,維吉尼亞·紐科姆,卡特里娜 馬科爾,艾米莉婭·戈薩姆,維多利亞·莫蕾特,麗莎·貝爾,安德烈·赫尼克,蘇珊·安貝赫,哈維·弗里德曼,戴比·露珍,湯姆·薩維尼,卡內(nèi)赫迪奧·霍恩,琳恩·勞里,杰西卡·瑞默斯,艾麗莎·道林,杰夫·迪倫·格雷厄姆,達(dá)蒙·帕卡德,惠特尼·穆?tīng)?Alex Ivanovici,Amanda Marquardt,Rachelle Glait,Erin Marie Hogan,Jeremy Gladen,Lindsay Goranson,James Gill少女艾諾拉·佩妮(Virginia Newcomb 飾)偶然在深夜進(jìn)入一家破敗的歌劇院,乖張吊詭的演員為她表演了六個(gè)異乎尋常的故事:《蟾蜍之母》一對(duì)美國(guó)夫婦來(lái)到法國(guó)某偏遠(yuǎn)山鎮(zhèn)旅行,在這里結(jié)識(shí)了一個(gè)詭異的老婆婆;《我愛(ài)你》德國(guó)柏林,走到盡頭的婚姻,歇斯底里的偏執(zhí)男人讓他的妻子再也無(wú)法忍受著無(wú)處不在的狂愛(ài);《夢(mèng)遺》飽受邪淫夢(mèng)境困擾的男人,在夢(mèng)與現(xiàn)實(shí)的夾縫中迷失;《事故》真實(shí)的死亡對(duì)于一個(gè)小女孩來(lái)說(shuō)也許過(guò)于費(fèi)解與殘酷,然而這就是它真實(shí)的原因;《記憶收集》她殺了求死的女人們,她看見(jiàn)并擁有了她們的記憶;《甜食》一度沉浸在甜食和熱戀中的情侶,不知不覺(jué)走到了情感盡頭。
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.
天才游戲
彭昱暢,丁禹兮,李蔓瑄,鄧恩熙,侯雯元窮途末路的天才少年劉全龍(彭昱暢 飾),被偏執(zhí)富家公子陳倫(丁禹兮 飾)選中,被迫踏入一場(chǎng)為他量身打造的“換命游戲”。豪華別墅、名車名表、神秘女友全部備齊,在陳倫的精心打造下,劉全龍瞬間擁有頂配人生。這場(chǎng)表面上各取所需的交易,暗地里卻殺機(jī)漸起。當(dāng)眾星捧月的快感喂大了野心,貪婪的目光開(kāi)始盯上原主擁有的一切,那個(gè)曾經(jīng)溫順的“獵物”,開(kāi)始在暗處亮出獠牙,而掌控一切的“獵人”似乎也早有籌謀。無(wú)名的尸體、操控與反噬、扮演與沉淪,這場(chǎng)游戲里,究竟是誰(shuí)在控制誰(shuí)?
嘔吐戈?duì)?:祭祀
《祭祀》是2008年在美國(guó)上映的一部恐怖電影,由路西爾.維綸泰恩執(zhí)導(dǎo),路西爾.維綸泰恩領(lǐng)銜主演。 《祭祀》展示了涅槃般樂(lè)隊(duì)的柯特·科本以及患有貪食癥的歌手安吉拉·阿伯丁自殺的瘋狂景象。受到惡魔般的同胞的感官精神的影響,安吉拉痛苦的自殘終于遭遇腦死亡。這是導(dǎo)演lucifervalentine的第二部作品
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