即刻觀影
劇情賞析
編輯推薦
兇兆1976
格利高里·派克,麗·萊米克,大衛·沃納,比莉·懷特勞,哈維·史蒂芬斯,帕特里克·特羅,馬丁·本森,羅伯特·里耶蒂,湯米·杜根,約翰·斯特賴德,安東尼·尼科爾斯,霍利·帕蘭切,羅伊·博伊德,弗蕾達·道伊,希拉·雷諾故事發生在1966年6月6日的上午6時，在這樣一個不吉利的時刻，美國大使羅伯特（格利高里·派克 Gregory Peck 飾）領養了一個男孩并取名戴米（哈維·史蒂芬斯 Harvey Stephens 飾）。隨著時間的推移，戴米漸漸長大，一些奇怪事件的接連發生預示著厄運敲響了羅伯特的家門。戴米的保姆莫名自殺后，一個神秘的女人貝洛克（比莉·懷特勞 Billie Whitelaw 飾）毛遂自薦留在了戴米的身邊。之后，神父博南（帕特里克·斯偌頓 Patrick Troughton 飾）找到了羅伯特，他告訴羅伯特，戴米是撒旦的孩子，戴米會不擇手段完成統治世界的野心。對于神父的話，羅伯特半信半疑，直到博南神父的死訊傳來，羅伯特才意識到，事態的發展是多么的糟糕。
尋磚
張亮,鄂靖文,劉俊孝,鄭強,趙毅,李寶安,紅花,傅花道,耿一正,周培巖野長城丟了一塊磚，富貴為了尋找自己藏在磚里的戒指，踏上尋磚之路。
再見十八班
柯焱曦,熊婧文,秦海梧桐中學高二十八班是遠近聞名的問題班級，后進生、藝術生、體育生、不良少年聚集在此，以宋宸（柯焱曦 飾）為首的男生幫派和以秦淼淼（熊婧文 飾）為首的女生幫派互相不服，班級混亂無序。一天，高二十八班收到了一封信，這封信自稱是由一年后的他們集體寄來。信上說，即將調來的班主任譚 睿明（秦海 飾）會改變十八班，成為對他們最重要的人。然而在一年后的未來，譚老師卻永遠地離開了他們。為了實現一段沒有遺憾的青春，扭轉歷史，少年們決定按照信上所說，挑戰一個個不可能實現的任務...
無限：未知對象
托莉·巴特勒-哈特,伊恩·麥克萊恩,康勒斯·希爾,格雷厄姆·巴特勒,Ben Lee,Holly Dale Spencer,Chris Hart,Wendy Muir HartJane is trapped in an unknown world with endless possibilities. She has to discover a way to access them and alter her reality before she is destined to repeat the same test over and over again, Ad Infinitum.
像我這樣的愛情
廖子妤,陳家樂,劉雅麗,楊淇,劉若寶,林芷沿我們這樣，是愛嗎？阿妹天生患有腦性麻痹，性格卻異常跳脫樂觀，閑時會約朋友踩板吹水，畫畫作樂，二十多年來一直努力不被身體耽誤。可是過度保護的母親堅決安排她進行子宮切除手術，阿妹努力建立的生活再次失去平衡，她的身體永遠是不由自主的。在朋友推薦下，阿妹找到了一個專為殘疾人士提供性服務的自發組織，并認識了義工Ken。這無私的相遇仿佛撫慰了兩個受傷的靈魂，那日漸累積的情愫沖淡了道德與身體的羈絆，這樣的關系，是愛嗎？ 譚惠貞繼《以青春的名義》（第14屆開幕電影）后第二部長片作品，將愛情元素和身障者性權益議題融合，成就一個道德探索與自我尋找的故事。
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.