混血媽媽

　　一名年輕美國(guó)女子被派往羅馬、展開(kāi)服侍教會(huì)的人生，卻接觸到了令她質(zhì)疑信仰的黑暗力量，并揭露惡魔轉(zhuǎn)世的可怕陰謀。

　　一年一度的圣誕佳節(jié)終于到來(lái)，在狂歡派對(duì)上，投資公司職員大衛(wèi)（布瑞恩·杰拉夫迪 Brian Geraghty 飾）終于鼓起勇氣向剛剛辭職的美麗女職員艾蜜莉（艾麗絲·伊芙 Alice Eve 飾）搭話，聚會(huì)中途，二人驅(qū)車和他們的朋友科瑞（喬什·派克 Josh Peck 飾）一同返回。此時(shí)已近深夜，希望買點(diǎn)兒什么吃的的三個(gè)人進(jìn)入某自動(dòng)提款機(jī)服務(wù)站取錢，可是正待出門時(shí)卻發(fā)現(xiàn)一個(gè)神秘陰森的身影站在外面，后者更在眾目睽睽之下殺了一個(gè)陌生的流浪漢。　　大衛(wèi)等人就這樣被困在方寸之間，看似隨機(jī)的襲擊事件，一切似乎又盡在神秘之人的掌控之中，他們最終能否逃脫？還是成為恐怖襲擊者的犧牲品？

　　我叫夏津生，做水產(chǎn)生意，45歲那年我兒子跳樓自殺了，他死后第37天我進(jìn)了他所有的群，我發(fā)現(xiàn)里面全都是有抑郁傾向企圖輕生的孩子，我不知道為什么，我在“約死群”留言1萬(wàn)9千次，問(wèn)過(guò)127個(gè)男孩，49個(gè)女孩，到現(xiàn)在也沒(méi)有答案……

　　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.