我老婆的姐姐2

地下角斗士

　　Duke and Yan, two long time rivals, are competing in the world’s most dangerous underground fighting tournament, where powerful crimelords can gamble and influence who they fight, the terrain they fight on and what weapons will be used. In this high-stakes bloodsport where one wrong move can mean certain death, they must decide whether to play by the rules or to cast their honor aside and team up against the dark syndicate running the tournament and bring the entire system down.

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.

喂，應(yīng)為

葛飾應(yīng)為生活在藝術(shù)幾乎完全由男性主導(dǎo)的江戶時代，盡管她是北齋之女，但仍作為屈指可數(shù)的女性畫師活躍于畫壇。她擁有連北齋都稱贊“在美人畫方面勝我一籌”的繪畫天賦，同時性格火爆、剛強、煙不離手，是個豪爽灑脫的女性形象。                                                                      　　《喂，應(yīng)為》的主人公阿榮是北齋的女兒、得力助手，展現(xiàn)了驚人的繪畫天賦。她從父親那里獲得了“葛飾應(yīng)為”這一畫號，這個名字源于北齋常常喊她“喂，飯來！”“喂，筆來！”等日常呼喚，“應(yīng)”代表回應(yīng)，“為”則有作為、成就之意，是從師父傳給弟子的名號，也是父親傳給女兒的象征。盡管她不會泡茶，也不擅長針線活，卻以繼承自父親的繪畫才華與膽識，在男性社會中闖出一條路。

瑪?shù)铝盏默數(shù)铝?/h3> 海倫娜·霍華德,米蘭達·裘麗,莫莉·帕克,奧奎·奧克波克瓦西里,蘇妮特·瑪尼,費利佩·博尼拉,麗莎·薩爾斯,寇蒂斯·庫克,雷納爾多·皮涅拉,邁拉·盧克利希亞·泰勒,茱莉·塞爾達,達娜·埃斯科爾森,蘇澤特·古恩,邁克·霍奇,亞歷山德拉·塔塔爾斯基

　　《瑪?shù)铝盏默數(shù)铝铡肥敲绹畬?dǎo)演約瑟芬·戴克最新的一部作品。這部電影講述了一個戲劇導(dǎo)演，在創(chuàng)作她最近的作品時所產(chǎn)生的故事。這也是約瑟芬·戴克的第14部作品。作品中的角色和她本人頗為相似，同樣作為導(dǎo)演的她，也是一名演員。戴克以往的作品，總是帶著一定程度上的形式化的美感，也顯露著女性特有的細膩。在她的作品中，鏡頭更像是一雙可以無限接近角色人物的眼睛，時刻捕捉著主觀視角下的人物的行動和當時的情內(nèi)心狀態(tài)。

第九區(qū)

　　1990年，一艘巨大的飛船出現(xiàn)在地球上空，人們惶恐不安，卻又分外好奇。經(jīng)過一段時間緊張的等待，外星飛船始終沒有動靜。人類終于小心翼翼靠近它，強行走進艙內(nèi)，結(jié)果發(fā)現(xiàn)了不計其數(shù)的外星人。他們形容丑陋，宛如蝦子，而且健康狀況極差，虛弱無力。原來這是一群來自外星的難民，他們最終被地球人接納，并隔離在南非約翰內(nèi)斯堡的一片區(qū)域內(nèi)生活，此地名為“第九區(qū)”。經(jīng)過長達20年的繁衍，外星難民的數(shù)量擴張至180萬之多，且和周邊人類的矛盾沖突不斷，越來越多的人類呼吁將“大蝦”趕出地球?！　NU（列國同盟組織）經(jīng)過磋商，決定將外星難民遷移到更為偏遠的區(qū)域。MNU外星事務(wù)部門的特工威庫斯（Sharlto Copley 飾）專門負責搬遷工作。威庫斯在動員過程中傲慢隨意，與當?shù)鼐用駴_突頻頻。最終，他為自己的行為付出代價，外星人的神秘流體將其感染，威庫斯慢慢變成了外星人的模樣……

死星

Claudio Nervi, an eclectic director, and Lucia Neve, a disillusioned producer, are looking for a new actress who could help them with their latest feature film, a project that is undoubtedly adrift. During a meeting with one of the most promising candidates, Stella, the girl will reveal them that the script of the movie is pretty similar to a story she knows well: the story of how she died.

粽邪3：鬼門開

　　講述冠宇（張庭瑚 飾）因與父親武雄（李興文 飾）不合，為了賺錢早日搬離家，與好友龜仔（李明倉 飾）一起到旅社打工，不料打掃的房間竟有人自縊身亡，房內(nèi)充斥不祥的泰國符號，而旅社老板娘（吳奕蓉 飾）更是舉止詭異，整間旅社彌漫著死亡的氣息，向冠宇席卷而來。