性、謊言和錄像帶 Sex, Lies, and Videotape (1989)

★ 9.3 播放：31萬 更新：2026-04-28

　　格雷厄姆（詹姆斯•斯派德 James Spader 飾）有一個特殊的癖好，就是為各種各樣的女人錄影，這些女人在他的攝像機面前都毫不遮掩地談論自己的性經驗和其中細節。當格雷厄姆回到闊別多年的家鄉時，他除了一輛汽車和這些錄像帶，一無所有。所以他只能暫時借住在同學約翰家。 　　約翰（彼得•蓋勒 Peter Gallagher 飾）是一名成功人士，他和妻子安（安迪•麥克道威爾 Andie MacDowell 飾）的妹妹辛西婭一直都在偷情，對妻子總是愛理不理。安陪著格雷厄姆去找租住的房子時，兩人在餐廳進行了一次關于性的長談，安坦言自己并不怎么重視性生活，而格雷厄姆則道出了自己的秘密：他性無能。 　　安偶然發現了格雷厄姆為各色女人拍的錄影帶，因丈夫冷淡而內心苦悶的她決定也來錄影。

在線播放

劇情簡介

　　格雷厄姆（詹姆斯•斯派德 James Spader 飾）有一個特殊的癖好，就是為各種各樣的女人錄影，這些女人在他的攝像機面前都毫不遮掩地談論自己的性經驗和其中細節。當格雷厄姆回到闊別多年的家鄉時，他除了一輛汽車和這些錄像帶，一無所有。所以他只能暫時借住在同學約翰家。 　　約翰（彼得•蓋勒 Peter Gallagher 飾）是一名成功人士，他和妻子安（安迪•麥克道威爾 Andie MacDowell 飾）的妹妹辛西婭一直都在偷情，對妻子總是愛理不理。安陪著格雷厄姆去找租住的房子時，兩人在餐廳進行了一次關于性的長談，安坦言自己并不怎么重視性生活，而格雷厄姆則道出了自己的秘密：他性無能。 　　安偶然發現了格雷厄姆為各色女人拍的錄影帶，因丈夫冷淡而內心苦悶的她決定也來錄影。

導演精選

小意大利

　　Voltage Pictures拿下艾瑪·羅伯茨、海登·克里斯滕森主演的浪漫愛情片[小意大利](Little Italy，暫譯)的國際銷售權。該片由唐納德·佩特瑞([倒霉愛神])執導，故事類似現代版羅密歐與朱麗葉，講述一名見習廚師同一位餐廳老板墜入愛河。他們父親是商業死對頭，母親卻是秘密的閨中好友。

獵殺游戲

　　在近未來的反烏托邦社會，電視真人秀《過關斬將》（The Running Man）以血腥的生存競賽霸占收視榜首。參賽者被稱為“跑者”（Runners），必須在職業殺手的追獵下存活30天，一舉一動皆被實時直播給嗜血的公眾觀眾；每多活一天，便能累積更高額獎金。　　工人階級的本·理查茲（格倫·鮑威爾 飾）為拯救重病女兒孤注一擲，被節目魅力十足卻冷酷無情的制作人丹·基利安（喬什·布洛林 飾）說服，以“最后希望”的身份踏入這場死亡游戲。　　然而，本的叛逆、求生本能與堅韌意志，竟讓他意外成為全民追捧的偶像——同時也成了整個體制的致命威脅。 隨著收視率飆升至巔峰，危險指數同步暴漲。本不僅要智勝步步緊逼的獵人，更需對抗整個國度對他“慘敗”的瘋狂期待。　　影片改編自史蒂芬·金的同名小說。

等待方舟

　　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.