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(yú)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(gè)佐羅和我們認(rèn)識(shí)的佐羅有所不同，對(duì)于頭懷送抱的美女他不但來(lái)者不拒，而且也從不放過(guò)任何卡油的機(jī)會(huì)。這個(gè);革命、生產(chǎn) ;兩不誤的英雄在小鎮(zhèn)上上演了連場(chǎng)好戲
即刻觀影
劇情賞析
編輯推薦
捕蛇者說(shuō)
霧山捕蛇人深陷苛政與蛇禍雙重絕境，異變的陰影籠罩村落，一場(chǎng)關(guān)乎救贖與守護(hù)的博弈悄然開(kāi)啟。
布偶秀50周年特別節(jié)目
塞斯·羅根,塞布麗娜·卡彭特,瑪婭·魯?shù)婪?馬特·沃格爾,大衛(wèi)·戈?duì)柶?邁克林·西提,比爾·巴雷塔,Peter Linz,史黛芬妮·迪亞布卓,埃里克·雅各布森,Elizabeth Stenmoen,泰勒·邦奇,David Rudman,Alice Dinnean,Bruce Lanoil,科琳·史密斯,James Murray,Haley Jenkins,Kevin Carlson,Artie Esposito科米蛙、豬小姐以及其他迷人的伙伴們，重返最初的布偶劇院舞臺(tái)，帶來(lái)全新的音樂(lè)、搞笑短劇，以及一連串的后臺(tái)大亂斗。
X 放射線
詹姆斯·惠特摩,埃德蒙·戈溫,詹姆斯·阿尼斯,瓊·韋爾登有個(gè)驚嚇過(guò)度的小女孩在沙漠游走，唯一吐出的只有一個(gè)字：怪物！任何50年代恐怖片迷都會(huì)馬上告訴你，她所指的”怪物”就是巨蟻，那是在當(dāng)?shù)睾俗釉嚤蟮母碑a(chǎn)品。這些巨蟻非常有組織，嗜肉且體型巨大，約有8到20呎，它們?nèi)壕墼诼迳即壍南滤老到y(tǒng)，彷若一個(gè)巨大的螞蟻園區(qū)，準(zhǔn)備好要接管這個(gè)世界。要和這些怪物對(duì)抗的人類精英是新墨西哥警署探員詹姆斯惠特摩，聯(lián)邦調(diào)查局代表詹姆斯亞尼斯，和一對(duì)由埃德蒙關(guān)恩和喬安妮威爾登所飾的父女檔昆蟲(chóng)學(xué)家。
女孩2025
邱澤,湯毓綺,白小櫻,林品彤,賴雨霏,劉品言,陳竹升,曾珮瑜,梁正群,謝瓊煖,黃鐙輝,劉冠廷1988年，基隆港煙塵蔽日，林小麗（白小櫻 飾）在迷惘中長(zhǎng)大，渴望逃離黑暗。 直到遇見(jiàn)無(wú)懼眼光、自在生活的李莉莉（林品彤 飾），她才第一次看見(jiàn)世界的色彩。 然而，這份向往卻觸動(dòng)了母親（湯毓綺 飾）的過(guò)往創(chuàng)傷。 當(dāng)年，她也曾憧憬未來(lái)，卻被現(xiàn)實(shí)困住。 女孩與女人，在交錯(cuò)的命運(yùn)中互相映照，像一面鏡子照出彼此的傷卻無(wú)能為力。
不露聲色
羅素·克勞,埃爾莎·帕塔奇,利亞姆·海姆斯沃斯,杰奎琳·麥根斯,羅伯特·菲茨杰拉德·迪格斯,馬特·納夫萊,K·卡蘭,林恩·吉爾馬丁,丹尼爾·麥克弗森,斯蒂夫·巴什托尼,本尼迪克·哈迪,Dan Matteucci,莫莉·格雷斯,Paul Tassone,Jemima Quinn,扎克·格里奇羅素·克勞將主演驚悚新片[撲克臉](Poker Face，暫譯)。加里·弗萊德([家園防線])執(zhí)導(dǎo)，斯蒂芬·M·科茨操刀劇本。該片講述杰克(克勞飾)是一個(gè)科技界的億萬(wàn)富翁，他把他的童年朋友們召集到他的邁阿密豪宅，進(jìn)行一場(chǎng)高賭注的撲克游戲。這些朋友與這位主人有一種愛(ài)恨交織的關(guān)系。杰克也是個(gè)游戲高手&策劃者，他精心策劃了一個(gè)計(jì)劃，旨在給他們所有人帶來(lái)某種正義。然而，當(dāng)杰克的邁阿密豪宅被一個(gè)危險(xiǎn)的入室搶劫者占領(lǐng)時(shí)，他發(fā)現(xiàn)自己需要重新思考他的策略。
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.