即刻觀影
劇情賞析
編輯推薦
空中輪胎
長瀨智也,藤岡靛,高橋一生,深田恭子,岸部一德,笹野高史,寺脅康文,小池榮子,阿部顯嵐,中村蒼,室毅,柄本明,佐佐木藏之介,升毅,谷村美月赤松德郎是個腳踏實地的小型運輸公司老板，一直努力維持公司，然而某天他公司的貨車發生輪胎飛脫導致年輕母親死亡的事件，在警方和媒體都認為他是殺人兇手之時，赤松查出全國都出現類似的事故，全部都涉及大型汽車制造商「希望汽車公司」的汽車，于是赤松為了證明自己無罪討回公道，只身挑戰龐大企業。
周二謀殺定律
亞歷克斯·加西亞,茵瑪·奎斯塔,阿娜·瓦格納,卡拉·坎普拉,貝倫·洛佩茲,戈爾卡·萊斯奧薩,Mia Zafra,Carmen Ruiz,Xavi Lite,保羅·皮雷,貝爾·蒙特羅,Saida Benzal,阿德里亞諾·卡瓦略,路易莎·加瓦薩,拉克爾·佩雷斯,Romeu Runa,Elsa Galv?o,佩德羅·卡薩布蘭科,Tiago Sarmento,Marga Arnau一群有組織地前往里斯本的游客在第一天早上其中一人被殺后，發現自己正在調查一起謀殺案。當他們參觀美麗的里斯本景點時，開始在人群中尋找兇手。
瘋狂的八人幫
迪娜·邁耶,喬治·紐伯恩,奇希·勞爾茲,Dan DeLuca,弗蘭克·威利因童年的玩伴去世，貝絲·潘特森（Gabrielle Anwar 飾）、布萊特·塞克斯（富蘭克·威利 Frank Whaley 飾）、珍妮弗·瓊斯（迪娜·梅爾 Dina Meyer 飾）、萊爾·戴伊（George Newbern 飾）、金娜·康特（翠希·羅茲 Traci Lords 飾）和韋恩·默瑞森（Dan DeLuca 飾）等6名好友重新聚首。他們曾在一所陰森的孤兒院內長大，并共同擁有著難以忘懷的恐怖回憶。他們在故友的書房內發現留給他們的遺書和地圖，按照上面的指示眾人來至一處偏僻所在，卻在地圖標注的地點找到一具高度腐爛的兒童尸體。 惶恐的眾人驅車逃離，然而迷失了來路，最終找到一幢廢棄空蕩的白色別墅落腳。至此，童年的秘密慢慢揭開，死神的腳步聲也越來越近……
嘔吐戈爾：殺戮
本片是關于一個被自己的父母拋棄的女孩的故事，14歲就離家出走的她，被當地的一個牧師收養了。后來，她所遇到的人，將會給她本來就很悲慘的命運帶來怎樣的影響呢？對于安吉拉.阿卜迪恩來講，為了她，他寧愿犧牲自己也要與撒旦達成死亡契約，這樣就可以讓她靈魂永生，為了報仇，她先去把那牧師的教堂燒成了焦土，而牧師因為喝多了而死在了教堂里。可是后來，她卻在都市的燈紅酒綠中染上了毒癮和酒癮，殊不知，她的腳已經邁入了地獄之門…從做了艷舞女郎到做妓女，發現毒癮已讓她無法自拔，甚至他覺得撒旦也拋棄了她 。
地下角斗士
戴拉·紹,黎唯,黎明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
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.