心醉神迷的想法

　　一位科學家在一次試驗中，發(fā)現(xiàn)用腦波可以使一只鉛筆穿透銅板，不過，他的實驗室在一次大火中毀滅，這位科學家不得不投靠他的哥哥。他的哥哥也在進行著另一項實驗，他發(fā)現(xiàn)重新組合原子結(jié)構(gòu)可以產(chǎn)生巨大能量。他與弟弟合作，利用弟弟的腦波和實驗心得，改變?nèi)魏挝镔|(zhì)結(jié)構(gòu)，形成“四度空間人”?！　〔贿^，“四度空間人”使用一次均會失去時間而老化，必須不斷增加能源，而每次吸取能量，就會將老化轉(zhuǎn)移他人，于是他不斷殺人以維持青春。究竟四度空間人會不會最終被消滅，請觀眾自己品味?！　”酒瑯?gòu)思新穎，運用高科技手段拍攝，是觀眾有身臨高科技時代的感覺，當然，這指的是身在影片所屬的年代！

　　英勇保護證人而展開一連串的警險搞笑……　　吳阿秋（吳耀漢）與貝多芬（岑建勛）奉命保護重要證人羅美美（羅美薇），但美美天性反斗，不喜被貼身保護，偷偷溜走，引來追殺危機。秋誤以為自己身患絕癥，變得非常搏命，與殺手拼個你死我活……

　　在毫無征兆的一個晴朗日子，一枚導彈筆直飛來，將國際大都會東京都內(nèi)極具代表性的彩虹橋炸為兩截。該事件在都內(nèi)引起不小的騷動，此后不久，警視廳公安部外事三課的警部高畑慧（高島禮子 飾）帶著相關(guān)視頻資料找到藤田繼次（筧利夫 飾）所統(tǒng)率的特車二課，經(jīng)分析發(fā)現(xiàn)這次襲擊來自于那架自衛(wèi)隊不久前失竊的新型戰(zhàn)斗直升機AH-88J2改“灰色幽靈（Grey Ghost）”。經(jīng)高畑之口得知，該恐怖事件與拓植行人、灰原零（森カンナ 飾）有直接的關(guān)系。而在紛亂的實踐中，特車二課則面臨著被撤消的危險?！　|京一千萬人口淪為暴動分子的人質(zhì)，面對前所未有的危機，泉野明（真野惠里菜 飾）和她的LABOR能否力挽狂瀾？

　　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.