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小婦人2019
西爾莎·羅南,艾瑪·沃森,弗洛倫絲·皮尤,伊萊扎·斯坎倫,勞拉·鄧恩,提莫西·查拉梅,梅麗爾·斯特里普,鮑勃·奧登科克,詹姆斯·諾頓,路易·加瑞爾,克里斯·庫珀,崔西·萊茨,艾比·奎因,薩莎·弗羅洛娃,莉莉·恩格勒特,愛德華德·弗萊徹,杰妮·霍蒂謝爾,多梅尼克·阿爾迪諾,湯姆·斯特拉特福,托馬斯·馬里亞諾,哈德莉·羅賓遜,杰米·加扎里安爆旋陀螺電影版:激戰!小龍VS大地
熊井統子,永澤菜教,竹內實生,高乃麗,折笠愛,久川綾,桑島法子,菊地志穂,橫山智佐,手塚ちはる,橘U子養鬼吃人6:死亡代碼
迪恩·文特斯,Ashley Laurence,Doug Bradley下女1960
金振奎,朱曾女,李恩心,嚴鶯蘭貝爾法斯特
裘德·希爾,凱特芮娜·巴爾夫,詹米·多南,朱迪·丹奇,塞倫·希德,科林·摩根,劉易斯·麥卡斯基,喬茜·沃克,弗蕾婭·耶茨,內薩·埃里克森,查理·巴納德,弗蘭基·黑斯廷斯,馬伊雷德·泰爾斯,卡奧蘭·麥卡錫,小伊恩·鄧尼特,邁克爾·馬羅尼,羅拉·麥克唐納,艾莉·康德倫,圖爾洛夫·科維里,杰拉德·霍蘭,康納·麥克尼爾,約翰·塞森斯,馬克·哈德菲爾德,克萊爾·阿什頓,薩克·霍蘭,歐拉·麥克唐納炫舞我人生
董維恩,陳樂添,杜梵,李純洱同類推薦
菜肉餛飩
周野芒,潘虹,茅善玉,陳國慶,王琳,徐祥,高博文,王菊,陳龍,馮瑪婭,倪夏蓮,安棟,王佳彥,曹可凡,袁鳴,章齡之,戰士強,張芝華,張建亞,顧曉東,卞根琴,孔祥東,賈梓樂,錢小昆,陳瀚波,黃英上海的退休工程師老汪與兒子有一個約定,每周六小汪會回父母家一次,順便吃碗老汪拿手的菜肉餛飩。為了讓兒子早點結婚生子,老汪在愛人素娟的啟發下,決定自己去公園相親角為兒子物色一名婚戀對象。在相親角,老汪結識了老金、美琴、阿芳等人,自己也無意中卷入了一場始料未及的情感漩渦之中。
奇幻之家
趙文琪,李琦,斯琴高娃,顏勤,徐日東升,宋祉璇,來喜,天賜,張明明,孟繁淼,馬國芯,吳一熳,徐日光耀,張韶潔,趙溦,宋牧晨,王慶峰,李時雨,孫悅一支家庭樂隊,其中心是熱愛唱歌的年輕人張寓哲(徐日東升 飾),他與父親張皓(李琦 飾)爺爺張宏民(顏勤 飾)一同準備參加家庭才藝大賽。然而,一場意外的奇怪風暴卻改變了一切,在前往濟南的比賽途中,他們遭遇了閃電雷擊,引發了一次離奇的身體互換。這場突如其來的變化將他們卷入了一系列驚險和尷尬的境地,需要他們適應對方的生活和角色。與此同時,單身母親李芳玲(趙文琪 飾)和她的女兒李藍藍(宋祉璇 飾)也在前往同一家庭樂隊大賽。兩個家庭在奇怪的巧合下相遇,他們決定將這個突如其來的情況變為機遇,臨時合并成一個全新的家庭樂隊。這個組合的形成不僅是音樂的融合,更是情感、人際關系和親情的交織。
鬼鏡
基弗·薩瑟蘭,寶拉·巴頓,Cameron Boyce,Erica Gluck,艾米·斯馬特警探本?卡森(Kiefer Sutherland 基弗?薩瑟蘭 飾)因槍殺同事被迫從紐約警察局提前退休,他的婚姻也隨之破裂。落魄的本暫住在妹妹安琪(Amy Smart 飾)的公寓里,終日借酒澆愁。一段時間沉淪過后,本重抖精神,找到了一份保安的工作。他所供職的五月花購物商場五年前曾被大火毀于一旦,令他倍感奇怪的是,在這座焦黑的建筑物中,那一面面鏡子卻格外明亮。 數日后,本在商場的鏡子上發現奇怪的手印,而次日亦在妹妹家的鏡子上見到恐怖的景象。接下來的日子里,恐怖事件接連發生……
這就是我2026
望月春希,齋藤工主人公賢示自幼飽受性別認同困擾,卻始終未放棄成為偶像的夢想。醫生和田在與賢示相遇后,首次直面性別認同障礙的現實,并以賢示為首例親自主刀的性別重置手術患者。一個選擇活出自我,一個探索“真正的醫療”,兩人在偏見與孤獨中建立起深厚信任與羈絆。 本片改編自春菜愛與和田耕治的原著,講述開啟禁忌手術之門的真實故事。
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.