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殯葬師
馬索·曼恩,愛德華·福隆,安吉利·贊巴拉娜,Luis Da Silva Jr,安東尼·邁克爾·弗雷德里克永恒站
邁爾斯·特勒,伊麗莎白·奧爾森,卡勒姆·特納,約翰·厄爾利,達明·喬伊·倫道夫,貝蒂·巴克利,杰夫·桑卡,潘塔·莫斯勒,布雷迪·德魯利斯,歐嘉·梅雷迪斯,塞巴斯蒂安·比林斯利-羅德里格斯,諾亞·布羅姆利,歐佳·佩斯塔,珍妮·克魯?shù)贍?巴里·普賴默斯,埃里克·高,露西·特恩布爾,大衛(wèi)·Z·科恩,丹尼·麥克,凱爾·沃倫騙局2024
Dean Edwards,T.L. Flint,Aaron Berg變鬼2
Laila Boonyasak,Phan Rojanarangsri,Pitchanart Sakakorn公寓管理員
帕特里克·約翰·弗呂格,方·基默,路易莎·克勞瑟,保羅·本-維克托,尤爾·瓦斯克斯,梅麗莎·博洛納,金·迪萊克特,阿曼達·沃倫,斯坦·德米多夫,盧克·愛德華茲,艾麗克斯·埃索,Mattea Conforti,泰勒·理查森,Andrea Lynn Green,Travaris Spears,奧基里特·奧諾多瓦還魂之迷失曼谷
范逸臣,李昕蕓,李媛,雪村同類推薦
擂臺兄弟
阿俊·阿肖坎,羅尚·馬修,維沙克·奈爾 ,Ishan Shoukath,Carmen S Mathew,Siddique,Syamaprakash M.S.,Thezni Khan,拉克施米·麥儂,Mammolotti在科欽堡,一群不合群者聯(lián)合起來創(chuàng)建了一個摔跤團體,他們面臨內(nèi)部競爭和滑稽的打斗,并隨著成長去應對更大的障礙。
八棺索財
喻恩泰,曹鶴陽,蘇濛濛一個商業(yè)酒店因為三起離奇死亡案件被社會各界所關注,一時間流言四起,有人說這是蓄意謀殺,也有人認為純屬意外,甚至網(wǎng)絡上有神人稱酒店施工曾挖出八具棺材,地形暗合了一個叫“八棺索財”的道家陣法。記者蘇莉、女網(wǎng)紅與其老公陳宇天,兩撥看似不相干的人組成奇葩小分隊,一起走進詭異酒店,等著他們的,是福還是禍?
養(yǎng)鬼吃人8:地獄世界
蘭斯·亨利克森,凱瑟琳·溫妮克,克里斯托弗·賈科特,卡里·佩頓,亨利·卡維爾,維克多·麥奎爾,道格·布拉德利,Catalina Alexandru這部最新續(xù)集故事從五個年青的互聯(lián)網(wǎng)游戲者,接到一個神秘的邀請開始,去參加一個名叫《地獄互聯(lián)網(wǎng)》站點的特殊聚會,不過他們沒有想到,那是一個恐怖的難以用言語表達的夜晚。。。全新特技、視覺效果,一個恐怖電影迷不能放過的片子。 這是一部全新而獨特的Hellraiser系列最新篇,大部分原班人員繼續(xù)上陣。和其它幾集比較來說,表面看只是一出跟其它B級片沒兩樣,同樣灑狗血的電影,但Rick Bota在血和核突以外,還加上深入一點的人性探討。前幾集的故事主要跟家庭、人的欲望和惡行有關,結果令他們慘受地獄使者的騷擾,充滿冷色調(diào)的美術設計,令Clive Barker所營造的世界,更見冷酷。
字母殺手
艾麗莎·杜什庫,加利·艾爾維斯,湯姆·馬洛伊,蒂莫西·赫頓,邁克爾·艾恩塞德紐約,一名女童在登上一輛汽車后遇害身亡,女警梅根(艾麗莎·杜什庫 Eliza Dushku 飾)調(diào)查此案,她敏銳的意識到被害女童的姓與名以及案發(fā)地三者的首字母相同,但除此之外毫無線索,梅根為查案用盡辦法,然而卻一無所獲,反而梅根本人的精神壓力日漸累積,她開始看到被害女童的幻影,終于精力不支甚至選擇自殺,最后不得不接受精神治療。兩年后,再次有符合首字母規(guī)律的女童被害案件發(fā)生,此時的梅根不顧上司反對,再次介入調(diào)查,她和搭檔在排查多位嫌疑人的同時,這位針對女童的“首字母殺手”作案愈發(fā)頻繁。梅根究竟能否拼貼出兇手的真相? 本片根據(jù)真實案件改編。
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.