年輕的小姨子：貪戀 若い処刑：彼女をタムハダ (2018)

 故事圍繞著一個(gè)“來(lái)自未來(lái)的人”（山姆·洛克威爾 飾）展開，他來(lái)到洛杉磯的一家小餐館，在那里他必須招募一群心懷不滿的顧客，與他一起完成一個(gè)為期一晚、跨越六個(gè)街區(qū)的任務(wù)，以拯救世界免受流氓人工智能的終極威脅。

　　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.

 這部1973年的小說(shuō)由安部公房創(chuàng)作，講述了一位無(wú)名男子放棄自己的身份，頭頂一個(gè)大紙箱生活的故事。在東京街頭游蕩時(shí)，他遇到了各種各樣的人物。

　　熱愛搖滾樂，一心想贏得大賽的阿比阿弟不小心被另一對(duì)長(zhǎng)得一模一樣的阿比阿弟機(jī)器推冥界。在他們大鬧陰曹地府、暢游天堂之后還拖著死神回到陽(yáng)世，拯救女友的性命···節(jié)奏強(qiáng)烈的熱門歌曲、地獄游歷的驚險(xiǎn)怪譚，還有一對(duì)胡搞蠻纏的活寶兄弟，就已經(jīng)使「阿」片夠新鮮熱鬧了，再加上導(dǎo)演創(chuàng)新的拍攝手法，許多趣味的橋段串連，使本片不論在視覺效果、技術(shù)處理上皆比上集精進(jìn)，娛樂效果更有過之而無(wú)不及。