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琳達(dá)·布萊爾,艾倫·伯斯汀,詹妮弗·內(nèi)特爾斯,小萊斯利·奧多姆, 奧利維亞·馬庫姆,安·唐德,莉婭·朱厄特,拉法埃爾·沙巴拉格,諾爾貝特·里奧·布茨,本·布萊頓,克洛伊·特埃考絲,E·J·博尼拉,莉茲·約翰斯頓,丹尼·麥卡錫,安東尼·科隆,諾拉·墨菲,奧奎·奧克波克瓦西里,埃米莉·雷切爾·戈登,塞萊斯特·奧利瓦,特蕾西·格雷夫斯仇殺病房
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彼得洛·卡斯特里圖,朱莉婭·米切利尼,安德烈·阿坎杰利,Pierluigi Gigante,愛德華多·佩謝,克勞迪奧·桑塔瑪利亞,奧羅拉·喬維納佐,法比齊奧·費(fèi)拉卡尼,Mauro Aversano,弗朗切斯科·拉·曼蒂亞,Michael Schermi,Carlo Tozzi77號(hào)頂層公寓
芭比·福特薩,Euwenn Mikaell,JC·阿爾坎塔拉,羅桑娜·羅瑟斯,Jackie Lou Blanco,卡洛斯·西古伊納-瑞納,吉娜·帕雷諾,Chrome Cosio精靈寶可夢(mèng):幻影的霸者索羅亞克
松本梨香,大谷育江,上田祐司,豐口惠美,小櫻悅子,加藤夏希,塚本高史,林原惠美,中川翔子,山寺宏一,樸璐美,間宮胡桃影視排行
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蕾雅·德呂蓋,帕斯卡·桑格拉,克萊爾·博德森,朱利安·利蒂,佛羅倫斯·維亞拉,海倫·亞歷山德里迪斯,Solan Machado Graner,安東尼婭·布雷西,杰納維夫·馬尼奇,Christian Sinniger,Sandra Colombo,C?me Péronnet,瓦倫丁·坎帕涅,Mathilde Riu,雅尼克·莫澤爾,古斯拉姬·馬蘭達(dá),戈捷·巴圖埃,Laurent Bozzi,亞歷珊德拉·耶爾馬克,斯蒂文·德里森「為什么大家討厭警察?」男孩詢問母親。身為警察的史黛芬妮,負(fù)責(zé)的卻是警察暴力與失職案件調(diào)查。2018年,一名青年隨親友來到巴黎參與街頭抗議,卻因警方開槍,導(dǎo)致永久性腦部損傷。家人提出指控,警方卻矢口否認(rèn),關(guān)鍵證據(jù)亦是不足。內(nèi)外壓力夾攻之下,史黛芬妮仍奮力調(diào)查,調(diào)閱攝像頭比對(duì)、還原警員動(dòng)線,越逼近真相之際,同僚的敵意也越發(fā)強(qiáng)烈??
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.
霧人前傳
邁克爾·羅伯特·布蘭登,邁克爾·穆內(nèi),邁克爾·穆內(nèi)1978年,死亡峽谷。警官戴維?麥克阿里斯特(David Stanbra 飾)將殺人如麻、殘酷血腥的霧人(Ben Gunther 飾)繩之于法,這個(gè)作惡多端的噩夢(mèng)最終死在毒氣室里。 時(shí)間回到現(xiàn)在,警長麥克阿里斯特(Robert Pine 飾)即將退休,他的兒子哈里斯(Michael Muhney 飾)則尾隨父親當(dāng)上了警察。父子二人在六角餐館用餐時(shí),遭遇了在逃的賭場(chǎng)搶劫犯。雙方展開對(duì)峙,年輕氣盛的哈里斯引起大爆炸,兩名劫匪劫持餐館女招待瑪雅(Mircea Monroe 飾)逃亡。在救援部隊(duì)遲遲未到之時(shí),戴維帶著兒子展開謹(jǐn)慎的追蹤。不過令雙方始料未及的是,似乎有另一個(gè)神秘、恐怖的殺手將他們玩弄于鼓掌之中。邪惡的霧人精神不死,重返人間……
歸途2025
伊沙恩·哈塔爾,詹維·卡浦爾,莉姆·謝赫,Vishal Jethwa北印度村莊的兩個(gè)好友為尋求尊嚴(yán)而競(jìng)逐警察職位,但在愈發(fā)絕望的追逐中,他們的友誼逐漸崩裂。