陷阱2015

★ 7.8 播放：18萬 更新：2026-04-29

　　該片是根據真實事件改編，講述了一對夫婦看到網絡上的美食情報，就來到孤島上尋找這間餐廳，卻遭遇了意料之外的重重危機。　　2015年警察廳公布的統計數據中，2014年網絡犯罪多達11萬起，大部分是網絡金融欺詐、黑客等行為，但也有通過網絡而施行的殺人、強奸、連鎖殺人等重大刑事犯 罪。特別是對于網上很多沒有公信力的情報毫無懷疑而上當受騙的受害者日漸增加。特別是我們對于智能手機和 app 的使用都成為日常生活中不可或缺的一環，所以網絡上的犯罪其實離我們每個人都很近。《陷阱》也是出于這樣的意圖，希望告訴觀眾，其實每個人都可能會陷入這樣的陷阱。　　影片中趙漢善和金敏京飾演的“俊植”、“素妍”夫婦，為了找到網上有著好口碑的餐廳而來到孤島上，遇見了親切地有些過分的餐廳主人，之后卻陷入了意想不到的陷阱中。該片導演權炯辰曾憑借《為了霍格沃茲》獲得第44屆大鐘獎新人導演獎，并提名第10屆上海國際電影節及亞洲新人獎最佳影片。之前演慣了反派的馬東錫最近在影視劇中展現了幽默搞笑的一面而倍受觀眾喜愛，在這部電影中則又飾演看上去很親切但卻讓人覺得有點恐怖的神秘餐廳主人“成哲”一角。

在線播放

劇情簡介

　　該片是根據真實事件改編，講述了一對夫婦看到網絡上的美食情報，就來到孤島上尋找這間餐廳，卻遭遇了意料之外的重重危機。　　2015年警察廳公布的統計數據中，2014年網絡犯罪多達11萬起，大部分是網絡金融欺詐、黑客等行為，但也有通過網絡而施行的殺人、強奸、連鎖殺人等重大刑事犯 罪。特別是對于網上很多沒有公信力的情報毫無懷疑而上當受騙的受害者日漸增加。特別是我們對于智能手機和 app 的使用都成為日常生活中不可或缺的一環，所以網絡上的犯罪其實離我們每個人都很近。《陷阱》也是出于這樣的意圖，希望告訴觀眾，其實每個人都可能會陷入這樣的陷阱。　　影片中趙漢善和金敏京飾演的“俊植”、“素妍”夫婦，為了找到網上有著好口碑的餐廳而來到孤島上，遇見了親切地有些過分的餐廳主人，之后卻陷入了意想不到的陷阱中。該片導演權炯辰曾憑借《為了霍格沃茲》獲得第44屆大鐘獎新人導演獎，并提名第10屆上海國際電影節及亞洲新人獎最佳影片。之前演慣了反派的馬東錫最近在影視劇中展現了幽默搞笑的一面而倍受觀眾喜愛，在這部電影中則又飾演看上去很親切但卻讓人覺得有點恐怖的神秘餐廳主人“成哲”一角。

導演精選

發財秘笈

　　黃尚（黃百鳴 飾）是一個其貌不揚的小小上班族，來到了車水馬龍人頭攢動的香港，心里滿懷希望的他決定要在此干出一番大事業。在香港，黃尚結識了三位各具風情的美女——個性溫柔賢良淑德的亞萍（楊寶玲 飾）、風情萬種熱情奔放的露露（李美鳳 飾）和高貴冷艷霸氣外露的珍妮（鄭文雅 飾） ，每一個人都讓黃尚心動不已。　　一次偶然中，黃尚撿到了一本《發財秘笈》，半信半疑的他按照書中所寫待人處事，果然沒過多久便升官發財。發達之后的黃尚先是得到了露露的芳心，之后又利用手段逼迫珍妮同自己結婚，一番折騰之后，一場超現實的奇遇卻讓黃尚開始思考，這樣的生活真的是自己想要的嗎？

嘔吐戈爾3：慢性折磨嘔吐室

這是三部曲的最后一部，故事圍繞著將自己奉獻給撒旦的妓女展開。這部影片的內容是極端而黑暗的，令人作嘔的情節屢屢出現，充斥著暴力，性，裸體，體液！一群女孩子和一個男人摳喉嚨催吐，然后吃掉嘔吐物，再吐出來……

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.