在線看
同款熱播
熱情洋溢
瑞安·雷諾茲,威爾·法瑞爾,奧克塔維亞·斯賓瑟,蘇妮特·瑪尼,帕特里克·佩奇,艾米·卡里諾,喬·蒂皮特,詹·塔洛克,P·J·伯恩,阿納斯塔西婭·薩尼多普洛斯·穆西斯,尼克·巴加,比利·康查,Woody Fu,瑪麗·安·紹布,瑪塞拉·賈拉米洛,羅布·勒維克,Heidi Garza,Amanda Cleghorn,Marilyn Swick,Alison Weller,Marlow Barkley一個音樂劇版本的查爾斯·狄更斯的《圣誕頌歌》，一個吝嗇的厭世者被帶上了一個神奇的旅程。
標錯參
洪金寶,鐘鎮濤,王祖賢,梁珊,曹查理,陳友在一家珠寶貿易公司工作的肥丁（洪金寶）因是胖仔外加做人老實，常被老板娘周太（梁珊）和其弟（曹查理）騎在頭上，重活臟活全要攬下不說，工作稍微出點錯就會被罵得狗血淋頭。一日，他和在貨運部工作的同事阿B（鐘鎮濤）一起按老板吩咐送鉆石給中東酋長，之后將所收錢款送往銀行的途中遭劫，周太和其弟不問青紅誣告兩人與劫匪是同伙。 越想越來氣的肥丁決定綁架周太以泄壓抑已久的怒火。在他準備行動之時，周家剛從美國歸來的女兒祖兒（王祖賢）正同后母周太發生激烈的爭吵，結果陰差陽錯祖兒被他綁架，之后又被阿B綁至家中。肥丁在阿B的逼迫下無奈向周家索要贖金，一時笑料百出。
芭比真人版
瑪格特·羅比,瑞恩·高斯林,亞美莉卡·費雷拉,阿麗亞娜·格林布拉特,凱特·麥克金農,海倫·米倫,威爾·法瑞爾,伊薩·雷,哈莉·尼夫,艾瑪·麥基,亞歷山德拉·希普,莎朗·魯妮,妮可拉·考夫蘭,邁克爾·塞拉,康納·斯溫德爾,舒提·蓋特瓦,劉思慕,金斯利·本-阿迪爾,斯科特·埃文斯,杜阿·利帕,約翰·塞納,雷亞·普爾曼,里圖·阿亞,安娜·科魯茲·凱恩,埃默拉爾德·芬內爾,詹米·德米特魯,安·羅斯,瑪瑞薩·阿貝拉,妮基塔·查達哈,安妮·瑪莫羅,麥肯納·羅伯茨,漢娜·卡利克-布朗,斯特林·瓊斯,黛布·海特,杰西卡·在夢幻浪漫的芭比樂園里，美麗自信的芭比們每日過著快樂無憂的生活，她們活躍在每一個工作崗位，肯是點綴，女孩的聚會才至關重要。直到某一天，我們的主角芭比（瑪格特·羅比 Margot Robbie 飾）突然提到了生死，她的完美生活毫無征兆發生改變。她的口氣不再清新，面容開始猶豫憔悴，也無法輕盈地從頂樓飄落下來。經前輩點播，她意識到人類世界某個人和她建立著聯系，而那個人的心境似乎正投射到芭比的身上來。為了找回曾經的完美生活，芭比和肯（瑞恩·高斯林 Ryan Gosling 飾）輾轉來到現實世界，并經過一番波折見到了葛洛莉婭（亞美莉卡·費雷拉 America Ferrera 飾）母女，而肯也在見識到男權社會的魅力之后，心中升起要改變芭比樂園的念頭……
最后幸存者
德魯·凡·阿克爾,艾麗西亞·希爾維斯通,史蒂芬·莫耶,馬克·法姆吉列蒂,本杰明·亞瑟,Akaash Yadav,Simon LeesThe pic is set in the aftermath of an apocalyptic event that forces people into extreme isolation. A father (Moyer) and son (Van Acker), who have been living off grid for 20 years, encounter an outsider (Silverstone) who threatens to destroy the utopia they’ve built.
貘之歌
四個背景經歷各不相同的年輕人在北京的一個出租屋里喝酒，但因為想法不一，互相有一些矛盾然后打了一架，警察介入，之后結束。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,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.