課中壞事

冷峻英俊的查爾斯·J·克里斯芬多（置鲇龍太郎 配音）是得到梵蒂岡認證的圣職者，同時也是一名擁有強悍戰斗力的獨立吸血鬼賞金獵人。但他白色身份的另一面，是隱藏著無盡秘密的吸血鬼。他從不吸食獻血，是一名虔誠祈禱的圣徒。不過有一個例外，那就是查爾斯的祖先強尼·雷夫羅（藤原啟治 配音）。雷夫羅當初利用符咒自行墮落成一名吸血鬼，堪稱所有吸血鬼的祖先。他為查爾斯提供源源不斷的血液，每當查爾斯前往世界各地執行任務時，雷夫羅便以“食物”的身份隨行。這次的任務有些奇怪，修女向查爾斯展示了一名神秘少女，而交換的代價便是查爾斯的主人兼食物——雷夫羅……　　本片根據日本漫畫家黑乃奈奈繪的同名原著改編。

 米爾德雷德（弗蘭西斯·麥克多蒙德 Frances McDormand 飾）的女兒在外出時慘遭奸殺，米爾德雷德和丈夫查理（約翰·哈克斯 John Hawkes 飾）之間的婚姻因此走到了盡頭，如今，她同兒子羅比（盧卡斯·赫奇斯 Lucas Hedges飾）過著相依為命的生活。一晃眼幾個月過去了，案件仍然沒有告破預兆，而警方似乎早已經將注意力從案子上轉移了開來。被絕望和痛苦纏繞的米爾德雷德租下了高速公路邊上的三塊巨型廣告牌，在上面控訴警方辦案無能，并將矛頭直接對準了警察局局長威洛比（伍迪·哈里森 Woody Harrelson 飾）。實際上，威洛比一直隱瞞著自己身患絕癥命不久矣的事實。因為這三塊廣告牌，米爾德雷德和威洛比的生活發生了翻天覆地的變化。

　　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.