即刻觀影
劇情賞析
編輯推薦
愛上平行時(shí)空的你
米拉·埃爾紹娃,尤里·納索諾夫,安東·瓦西利耶夫,柳德米拉·阿爾捷米娃,安東·阿爾特梅夫,埃爾尚·阿列斯克羅夫,納德茲達(dá)·伊萬諾娃,羅扎·哈伊魯林娜,瑪麗亞·克羅托娃,尤里·李,康斯坦丁·梅爾茲利金,葉夫根尼·塔庫耶夫艾莉莎搬進(jìn)了圣彼得堡一間寬敞的公寓，公寓里的鏡子卻開始出現(xiàn)故障。它向這位年輕的房客展現(xiàn)了同一個(gè)公寓的平行世界，只不過，在這個(gè)平行世界里生活的不是艾麗莎，而是和她搶這間公寓的派對(duì)狂人伊萬。這兩位年輕人能否認(rèn)清真愛？他們又能否讓兩個(gè)世界相連，在現(xiàn)實(shí)中相遇，只為簡(jiǎn)單地觸碰彼此？
河流如血
泰雅·迪格斯,約翰·庫薩克,喬治·洛佩茲,盧克·海姆斯沃斯,Gianni Capaldi,布萊恩娜·伊維根,RJ·米特,Steven Berrebi,賈克琳·弗萊明,陶竤,伊薇特·帕里什The son of an African-American Judge is killed by police officers on the day he was set to begin law enforcement academy. When the courts clear the officers of wrongdoing, the Judge must decide whether the courts are the only arbitrators of justice.
綁架2016
西耶娜·蓋爾利,威廉·B·戴維斯,梅麗·卡爾維A girl flees her orphanage in a paranoid belief that otherworldly forces are after her. She seeks refuge in the remote town of Fate, Texas, but is met with hostility. The residents are about to enter her Hell.
包寶寶
丹尼爾·凱林,辛迪·勞畫面開始，一雙豐滿的手靈巧地揉面、按記兒、搟皮兒、包包子。沒過一會(huì)兒，一籠白白凈凈又饞人的包子就做得了。相貌平平的女主人推開廚房的窗戶，短暫的歇息。稍后，包子蒸熟，女主人端著它來到餐桌前。此時(shí)，她的老公已經(jīng)起床，正目不轉(zhuǎn)睛地盯著電視的新聞。而他看了表后狼吞虎咽，便匆匆上班去了。失落的女主人拿起最后一個(gè)包子，可剛一張嘴包子便大哭了起來。不知為何包子有了生命，而倍感孤獨(dú)的女主人格外開心，于是將包寶寶當(dāng)做自己的孩子撫養(yǎng)。小包子一天天長大，他起初和女主人分外親近，但是他漸漸有了自己的個(gè)性，渴望獨(dú)立，渴望遠(yuǎn)行……本片是《超人總動(dòng)員2》的貼片短片，榮獲奧斯卡電影金像獎(jiǎng)最佳動(dòng)畫短片獎(jiǎng)。
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.
檢事霞夕子～無關(guān)系的死～
沢口靖子,西村和彥,神保悟志,石丸謙二郎,いしのようこ,川野太郎,ダンカン,松原智恵子,手塚理美一名男子因獵槍走火而身亡，幾乎所有的人都認(rèn)為這是一起意外，只有一向風(fēng)格強(qiáng)硬的檢事霞夕子（澤口靖子 飾）倍感蹊蹺。她執(zhí)意深入調(diào)查，但是最終一無所獲。與此同時(shí)，名叫安川初音（石野洋子 飾）的女子來到夕子老家的寺院上香，她此行的目的是悼念一個(gè)因被誤解而意外死亡的男子。安川種種反常舉動(dòng)引起了夕子的注意，她旋即又對(duì)安川展開調(diào)查，卻無意間發(fā)現(xiàn)這兩起意外事件的關(guān)聯(lián)。層層迷霧漸漸散盡，真相逐漸浮出水面…… 本片根據(jù)夏樹靜子的原著小說《路上の奇禍》改編，是3週連続 罪と女系列的第2部，另外兩部分別為《破婚的條件》和《魔術(shù)的耳語》。