54俱樂(lè)部

? 2.5 播放：97萬(wàn) 2026-04-27

西恩（瑞恩 菲利普 Ryan Phillippe 飾）是一個(gè)來(lái)自于小地方的窮小子，懷抱著夢(mèng)想，他只身來(lái)到了紐約這座繁華而喧囂的城市。在這里，一個(gè)名為;54俱樂(lè)部的神秘組織吸引著他的注意，能夠成為這個(gè)俱樂(lè)部中的一員是西恩夢(mèng)寐以求的事情。54俱樂(lè)部位于曼哈頓城的54號(hào)街上，史帝夫（麥克 ;梅爾斯 Mike Myers 飾）是它的創(chuàng)始人。俱樂(lè)部中充斥著各種使人或是意亂情迷或是狂歡放縱的元素，人們來(lái)到這里，單純的享受著音樂(lè)和性帶來(lái)的快感。不僅僅是西恩，西恩的同事葛列格（布瑞金 梅耶 Breckin Meyer 飾），美麗的舞女安妮塔（薩爾瑪;海耶克 Salma Hayek 飾），他們都將進(jìn)入54俱樂(lè)部當(dāng)做了自己的夢(mèng)想。而當(dāng)夢(mèng)想實(shí)現(xiàn)的那一天來(lái)到時(shí)，他們的人生會(huì)發(fā)生怎樣的變化？ 　　

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? 播放 54俱樂(lè)部

劇情提要

西恩（瑞恩 菲利普 Ryan Phillippe 飾）是一個(gè)來(lái)自于小地方的窮小子，懷抱著夢(mèng)想，他只身來(lái)到了紐約這座繁華而喧囂的城市。在這里，一個(gè)名為;54俱樂(lè)部的神秘組織吸引著他的注意，能夠成為這個(gè)俱樂(lè)部中的一員是西恩夢(mèng)寐以求的事情。54俱樂(lè)部位于曼哈頓城的54號(hào)街上，史帝夫（麥克 ;梅爾斯 Mike Myers 飾）是它的創(chuàng)始人。俱樂(lè)部中充斥著各種使人或是意亂情迷或是狂歡放縱的元素，人們來(lái)到這里，單純的享受著音樂(lè)和性帶來(lái)的快感。不僅僅是西恩，西恩的同事葛列格（布瑞金 梅耶 Breckin Meyer 飾），美麗的舞女安妮塔（薩爾瑪;海耶克 Salma Hayek 飾），他們都將進(jìn)入54俱樂(lè)部當(dāng)做了自己的夢(mèng)想。而當(dāng)夢(mèng)想實(shí)現(xiàn)的那一天來(lái)到時(shí)，他們的人生會(huì)發(fā)生怎樣的變化？ 　　

幕后花絮

遇見惡魔

　　曾經(jīng)的約翰（盧克·威爾遜 Luke Wilson 飾）是一名風(fēng)光無(wú)限的商人，偌大的豪宅，漂亮的妻子，可愛的女兒，當(dāng)金融危機(jī)爆發(fā)之時(shí)，約翰所擁有的這令人羨慕的一切都在轉(zhuǎn)瞬間成為了巨大的負(fù)擔(dān)，他和妻子之間原本美滿的感情也產(chǎn)生了裂痕?！　〗?jīng)歷了糟糕的一天后，約翰拖著疲憊的身軀回到家，這時(shí)，一個(gè)名叫里奇（塞繆爾·杰克遜 Samuel L. Jackson 飾）的陌生人攔住了約翰，希望得到他的幫助。讓約翰沒(méi)有想到的是，里奇竟然是一名殺手，可是，里奇卻并沒(méi)有殺死約翰，正相反，在莫名其妙之中，約翰和里奇一同踏上了一段充滿了鮮血和殺戮的恐怖旅程。隨著時(shí)間的推移，約翰漸漸開始懷疑，他和里奇之間的相遇究竟是偶然還是必然。

等待方舟

　　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.