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瘋狂海盜團(tuán)2
凱瑞·豪根·西德尼斯,Sienna Rosie Schei,David Leander Helgor,Lisa Stokke,哈瓦德·巴克,尼爾斯·約恩·卡爾斯塔德,杰普·貝克·勞爾森,Jan Martin Johnsen,Fridtjof Stens?th Josefsen,Terje Formoe,Charlotte Frogner,雅各布·奧福特布羅摯友雷文和粉紅公主在令人聞風(fēng)喪膽的海盜、七海之王劍齒虎船長(zhǎng)的麾下服役。狡猾的格羅爾伯爵夫人西比拉襲擊了他們的船，偷走了珍貴的船首像并綁架了粉紅公主—這一切都是她精心策劃的，旨在誘捕劍齒虎船長(zhǎng)，征服海盜的家園。
留校聯(lián)盟
保羅·吉亞瑪提,多米尼克·塞薩,達(dá)明·喬伊·倫道夫,卡麗·普雷斯頓,布雷迪·赫普納,伊恩·多利,吉姆·卡普蘭,邁克爾·普羅沃斯特,安德魯·加曼,納希姆·加西亞,斯蒂芬·索恩,吉蓮·韋格曼,泰特·多諾萬(wàn),達(dá)比·莉莉·李-斯塔克,比爾·穆托斯,達(dá)斯汀·塔克,胡安妮塔·珀?duì)?亞歷山大·庫(kù)克,利茲·畢曉普,科爾·特里斯坦·墨菲,威爾·薩斯鮑爾預(yù)科學(xué)校巴頓學(xué)院的老師保羅（保羅·吉亞瑪提 飾）不太受歡迎，不管是學(xué)生、老師還是校長(zhǎng)，都不太喜歡他，他們覺(jué)得他浮夸又僵化。在1970年的圣誕假期，保羅留在了學(xué)校監(jiān)督無(wú)法回家的學(xué)生。幾天后，只有一個(gè)學(xué)生留了下來(lái)——一個(gè)名叫安格斯的15歲搗蛋鬼，他是一個(gè)被不良行為破壞的好學(xué)生，總是在被開(kāi)除的邊緣試探。與保羅和安格斯一起留下的還有學(xué)校廚師長(zhǎng)瑪麗，一個(gè)為特權(quán)階層的兒子們提供服務(wù)的非裔美國(guó)婦女，她自己的兒子最近在越南失蹤了。這三個(gè)截然不同的失意者組成了一個(gè)奇怪的圣誕家庭，在新英格蘭大雪紛飛的兩個(gè)星期里，分享著不幸經(jīng)歷，并意識(shí)到他們中沒(méi)有人感謝自己的過(guò)去。
有關(guān)謊言的真相
瑪麗·伊麗莎白·埃利斯,奧黛塔·安納布爾,考林·加普,克里斯·迪亞曼托普洛斯,弗蘭·克朗茨,奧克斯·費(fèi)格雷,勞拉·奈特林格,麥爾斯·費(fèi)舍,阿瑟·J·納斯加勒拉,丹尼爾·雷蒙特,喬納森·凱茲,Carson Elrod當(dāng)真相鋪天蓋地而來(lái)，令人根本無(wú)法接受的時(shí)候，吉爾比發(fā)現(xiàn)自己早已陷入了一個(gè)錯(cuò)綜復(fù)雜的謊言網(wǎng)無(wú)法脫身。當(dāng)真相鋪天蓋地而來(lái)，令人根本無(wú)法接受的時(shí)候，吉爾比發(fā)現(xiàn)自己早已陷入了一個(gè)錯(cuò)綜復(fù)雜的謊言網(wǎng)無(wú)法脫身。
查帕奎迪克
杰森·克拉克,凱特·瑪拉,艾德·赫爾姆斯,布魯斯·鄧恩,吉姆·加菲根,奧莉薇·瑟爾比,克蘭西·布朗,泰勒·尼科斯,約翰·菲奧里,吉利恩·瑪瑞娜·戈登,凱蒂·亨諾克,萊克西·羅斯,安吉拉·霍普·史密斯,文斯·泰瑟,維克多·沃倫,大衛(wèi)·德·貝克,安德莉亞·布萊克曼,比爾·亨弗瑞斯,湯姆·奧布萊恩,莎拉·伊麗莎白·米切爾,保羅·佩普,雅各布·海德,克里斯·埃杰利,瓦利·維吉爾特澳大利亞男演員杰森·克拉科將出演影片《查帕奎迪克島》(Chappaquiddick，暫譯)，他在片中飾演肯尼迪家族成員之一參議員愛(ài)德華·肯尼迪，即肯尼迪總統(tǒng)的弟弟?！睹婕啞穼?dǎo)演約翰·卡蘭執(zhí)導(dǎo)筒。影片將聚焦1969年以愛(ài)德華·肯尼迪為核心的“查帕奎迪克丑聞事件”，“肯尼迪詛咒”再次現(xiàn)身大銀幕。
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.
大器晚成2023
凱倫·吉蘭,瑪爾戈扎塔·扎亞茨夫斯卡,杰梅因·福勒,塔利亞·巴爾薩姆,凱文·尼龍,麥克斯·詹金斯,拉提法·赫爾德凱倫·吉蘭、瑪格麗特·蘇菲·斯坦、杰梅因·福勒、凱文·尼倫、塔利亞·巴爾薩姆將主演喜劇新片《大器晚成》(Late Bloomers)，麗莎·斯蒂恩首導(dǎo)劇情長(zhǎng)片，已在紐約殺青。 斯蒂恩的多部短片搭檔安娜·格林菲爾德寫(xiě)劇本，松散基于她20多歲時(shí)居住在布魯克林的經(jīng)歷，講述露易絲(吉蘭)是一個(gè)漫無(wú)目的的千禧一代，某天她醉醺醺地摔到了臀部，為此接受了物理治療，在那里結(jié)識(shí)了一位不會(huì)說(shuō)英語(yǔ)的年長(zhǎng)波蘭女士，兩人成為了閨蜜。而正是這種不太可能的友誼讓露易絲有勇氣面對(duì)她一直在逃避的事情：她母親的早發(fā)性老年癡呆癥。 福勒飾演露易絲的室友/房東布里克，尼倫和巴爾薩姆飾演露易絲的父母。