我有我瘋狂

評分:6.7 播放:10萬 更新:2026-04-24
主演: 陳寶蓮 蔡少芬 袁潔瑩 

廖小璇(陳寶蓮飾)與丈夫馬祖輝驅(qū)車在夜里游玩,汽車失事墮海,馬祖輝意外身亡。人們根據(jù)種種跡象,懷疑這是廖小璇一手策劃的謀殺丈夫案件,馬祖輝生前購下的巨額保險和廖小璇以往的不良紀錄,更是增加了疑點。馬祖輝的家族一口咬定是廖小璇所為,但又拿不出過硬的證據(jù),于是保險公司派來調(diào)查員賈淑賢(袁潔瑩飾)。此人表面上代表律師替璇洗脫罪名,暗地里是搜集證據(jù)要釘死廖小璇。可是,在整個過程中,賈淑賢發(fā)覺廖小璇并不是陰險毒辣的人,轉(zhuǎn)過頭來幫助廖小璇。一個自稱是馬祖輝太太的女人金露露(宮雪花飾)出現(xiàn)在大宅里面,目的很清楚是那筆保險金,金露露與廖小璇水火不能相容。賈淑賢經(jīng)過調(diào)查,發(fā)現(xiàn)馬祖輝原來有一樁秘密的婚外情,而對象竟然就是 

影片推薦

同類精選

影視排行

劫車王

佐伊·馬奇爾,弗蘭克·蓋思堂彼得,Bosh,Chilla,Alassane Diong,Disiz La Peste,Hafid F. Benamar,科林·貝茨,米蘭妮·讓帕諾米,Zoé Diowo-Ceccaldi,Florence Fauquet,喬納森·德繆杰,阿利克斯·貝納澤什,帕斯卡爾·艾爾索,Eva Windstein,Agnès Godey,Erwan Szejnok,Azad Boutella,Wendy Grenier,Noémie Desbordes

  白天,他們是隱形的——豪華酒店的服務(wù)員、女招待和調(diào)酒師。到了晚上,他們就是劫車者,一群熟練的司機,在路上追蹤和搶劫富有的客戶。當他們計劃最終的搶劫時,酒店經(jīng)理雇傭了一名無情的殺手,不惜一切代價阻止他們。隨著危險的臨近,諾拉、佐伊、史蒂夫和普雷斯頓能取得迄今為止最大的成績嗎?

無效郵件

小斯特林·馬塞爾,約翰·弗利克,Tomas Boykin,蘇珊·普里弗,Micki Jackson,尼克·海曼,Sean Heyman,Aaron Phifer,Brian Burke,邁卡·菲茨杰拉德,沙里夫·沃爾特斯,David Willis,Joseph Lopez,喬什·哈普,Shelby Sulak,Alyssa Brayboy,Robin D. Stanton,Jackie Green,Shelby Shea,I. Elijah Baughman

一份不祥的求助信被傳到了20世紀80年代的一家郵局里,將一名死信調(diào)查員與一名被綁架的鍵盤技術(shù)員聯(lián)系起來。

切勿擅動

唐·錢德爾,本尼西奧·德爾·托羅,馬特·達蒙,大衛(wèi)·哈伯,布蘭登·費舍,諾亞·尤佩,茱莉婭·福克斯,基南·卡爾金,克雷格·穆姆斯·格蘭特,艾米·西米茨,弗蘭西斯·肖,喬恩·哈姆,Tina Gloss,雷·利奧塔,拜倫·鮑爾斯,比爾·杜克,Lucy Holt,Katherine Banks,Claudia Russell,Lauren Rys Martin

  一群犯罪分子在神秘的環(huán)境下被聚集在一起,當他們簡單的工作完全出現(xiàn)偏差時,他們不得不一起努力去揭開到底發(fā)生了什么。

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.