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鬼影實錄:東京之夜
中村蒼,青山倫子位于東京的某區(qū),山野一家三口過著富庶自在的生活。2010年9月3日,姐姐春花(青山倫子 飾)從美國歸來,此前她在旅行中遭遇一場車禍,致令雙腿嚴重骨折。弟弟幸一(中村蒼 飾)是個開朗陽光的大男孩,他拿著新買的攝像機拍下了山野家生活的點點滴滴。由于父親公務繁忙,平時只有姐弟二人在家。平靜的日子并未持續(xù)太久,一絲不安便在屋子內肆意彌漫。春花發(fā)現(xiàn),每當次日醒來床邊的輪椅便會發(fā)生移動。為了探明真相,幸一決定在姐姐的臥房內安置攝像機,監(jiān)控夜晚的情況。在屏幕前,不可思議的景象接連發(fā)生,姐弟倆似乎也陷入惡魔的詛咒中,無法逃脫…… 本片為恐怖片《鬼影實錄》的日本版。
超暴力機斗
Ben Naasz,Teddy Ca?ez,Jennifer Sydney主要講述了未來世界人與機械武器之間的愛恨情仇。
開麥了嗎?
威爾·阿奈特,布萊德利·庫珀,塞倫·希德,勞拉·鄧恩,艾米·塞德麗絲,西恩·海耶斯,克斯汀·埃伯索爾,斯萬米·薩姆派奧,安德拉·戴,佩頓·曼寧,加布·法齊奧,迪倫·比克爾,喬丹·詹森,Scott Icenogle,湯姆·約翰遜,Chloe Radcliffe,德里克·蓋恩斯,蘭登·威爾森,Reggie Conquest,Seyler Fox經過多年的共同生活,亞歷克斯和苔絲最終和平地結束了他們的婚姻,也由此開啟了一個尷尬的階段:他們開始摸索如何在各自獨立生活的同時,撫養(yǎng)兩個兒子,并維持彼此的友誼。亞歷克斯發(fā)現(xiàn)了自己新的愛好,投身于喜劇表演之中,而苔絲則開始直面自己為家庭做出的犧牲。本片根據英國著名喜劇演員約翰·畢曉普的人生經歷改編。
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.