在線看
同款熱播
棉花軟糖
柯賓·伯恩森,庫?！趥愃?Kai Cech,Max Malas在一個與世隔絕的夏令營里，膽小又內(nèi)向的12歲男孩摩根陷入了一場噩夢之中——曾經(jīng)被當(dāng)作傳說的一個篝火故事竟變成了現(xiàn)實。摩根和他新結(jié)識的朋友們必須踏上一段危險重重的旅程，并揭開隱藏在表象之下的邪惡真相。
庇護之地
杰森·斯坦森,博德?！だ佟げ祭锛{希,比爾·奈伊,娜奧米·阿基,丹尼爾·梅斯,哈麗特·瓦爾特,戈登·亞歷山大,布隆森·韋伯,湯姆·吳,比利·克萊門茨,托米·梅,安娜·克里里,巴利·吉爾,瑞恩·弗萊徹,亞當(dāng)·柯林斯,索菲安·弗朗西斯,布萊恩·維吉爾,史蒂文·布拉德斯,路易絲·拉,Rodaidh Findlay隱居孤島的特工界黃金王牌邁克爾·梅森（杰森·斯坦森 飾）本想就此隔絕過往，一場風(fēng)暴卻讓他救下少女杰茜（博德希·蕾·布里納希 飾），命運的齒輪徹底反轉(zhuǎn)……他們的行蹤不慎暴露在嚴密的監(jiān)控網(wǎng)絡(luò)之下，神秘勢力的追殺接踵而至，無路可退的梅森被迫重操舊業(yè)，攜手少女開啟生死突圍之路。 面對頂尖特工小隊和冷血殺手的輪番圍剿，梅森一路火力全開：近身肉搏、飛車追逃、槍林彈雨，硬核爽戰(zhàn)全程高能！隨著追殺不斷升級，層層陰謀被逐一揭開，互相防備的兩人成為彼此唯一的依靠。當(dāng)滔天陰謀席卷而來，他們能否沖破死局？這份絕境中的守護，又會成為鎧甲還是軟肋？
我老婆不是人
梁家輝,關(guān)之琳,胡楓,陳雅倫,周文健,梅小惠,鄭丹瑞,黎彼得,張堅庭建筑師托尼（梁家輝 飾）的個性十分木訥老實，以至于他暗戀同時艾琳（陳雅倫 飾）多年，卻總也鼓不起勇氣表白，更糟的是，艾琳已有一位感情親密的男友，托尼的單戀似乎注定不會有結(jié)果。一次偶然中，托尼被猛鬼纏身，索性得到名為嘉嘉（關(guān)之琳 飾）的女鬼相助才得以脫身，也正因為這件事，托尼擁有了能與嘉嘉心意相通的特異功能。 得知了托尼的苦戀，熱心的嘉嘉決定幫他一把，一番波折之后，艾琳終于離開了男友，投入了托尼的懷抱，可是，直到這時，托尼才發(fā)現(xiàn)自己其實早已經(jīng)深深的愛上了嘉嘉，無奈人鬼殊途，無法承受分離之苦的托尼竟然決定殉情。
超時空獵殺
苗韻桐,郝艾莉,張晶2020年，在香港首次發(fā)現(xiàn)穩(wěn)定蟲洞，人們可以通過穩(wěn)定蟲洞回到歷史上的時間節(jié)點，為了防止有人通過蟲洞回到歷史并破壞歷史，時空管理局應(yīng)運而生。 時空管理局擔(dān)負著校正歷史、讓歷史按著既定軌道運行的使命。然而時空守衛(wèi)隊隊長左石，卻突然率領(lǐng)五名部下，攜帶著超出時代進程的槍支武器，闖入蟲洞，回到了歷史中的秦陽城，意圖以顛覆歷史要挾時管局在48小時內(nèi)關(guān)閉蟲洞。 為了挽救歷史，女探員景彤臨危受命與前守衛(wèi)隊隊長秦朗，帶領(lǐng)新組建的守衛(wèi)隊，配備青銅武器回到歷史之中，阻止左石一行。
藏地情書
屈楚蕭,邱天,馬蘇,張寧江,金巴,黨浩予,班瑪加,巴金旺甲,才丁扎西毛銘基（屈楚蕭 飾）和傅真（邱天 飾）在拉薩相遇，并和子琪（馬蘇 飾）、李?。◤垖幗?飾）、達娃（金巴 飾）結(jié)伴前往珠峰大本營。歷經(jīng)各種波折后，毛銘基和傅真二人之間產(chǎn)生了純粹且強烈的愛情，但兩人都未在即將結(jié)束的旅途前表達愛意，他們最終能否知曉彼此的心意？
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.