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[嗲囡囡FEILIN]暫無內(nèi)容暫無內(nèi)容寫真集系列鑒賞
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威爾·史密斯,凱文·克萊恩,肯尼思·布拉納,薩爾瑪·海耶克,M·埃梅特·沃爾什,泰德·拉文,弗雷德里克·范·德·瓦爾,穆賽塔·萬德,Sofia Eng,白靈,嘉絲莉·畢薇斯,Mike H. McGaughy,羅德尼·格蘭特,巴克·泰勒,Dean Rader-Duval ,克里斯蒂安·奧伯特,Orestes Matacena,伊安·艾伯克龍比,伊斯梅爾·伊斯特·卡爾羅,鮑勃·洪諾,Kris Andersson,菲爾霍恩,斯科特·希斯洛普,貝尼·利威,德里克·梅耶斯,Tiger Mendez,Ty O&
一位是作風(fēng)矯健、機(jī)智幽默的聯(lián)邦特工威斯特（威爾·史密斯 Will Smith 飾），一位是愛耍聰明的易容大師高登（凱文·克萊恩 Kevin Kline 飾），這兩個(gè)看似一山不容二虎的狠角色卻被總統(tǒng)同時(shí)召見了，原因是授命他們一同追捕一名神秘毒辣的科學(xué)家連環(huán)殺手。威斯特和高登只好在摩擦碰撞中培養(yǎng)默契，竟然很快成為一對(duì)絕配拍檔。經(jīng)過調(diào)查，兩人發(fā)現(xiàn)原來幕后黑手竟然是曾經(jīng)的天才博士勒弗里斯（肯尼思·布拉納 Kenneth Branagh 飾），他因在一次實(shí)驗(yàn)中失去雙腿，只好永久呆在輪椅上，然而殘缺的個(gè)性與對(duì)社會(huì)的怨恨讓他開始到處作亂，甚至發(fā)明了一架巨型的蜘蛛機(jī)器濫殺無辜，并企圖謀殺總統(tǒng)，統(tǒng)治美國。危機(jī)迫在眉睫，威斯特和高登分頭來到新奧爾良，駕駛著一列布滿機(jī)關(guān)的火車迎戰(zhàn)蜘蛛博士，一場(chǎng)古怪武器間的斗智斗勇已悄然展開……
非法入侵
尼古拉斯·凱奇,妮可·基德曼,本·門德爾森,麗亞娜·萊伯拉托,凱姆·吉甘戴,喬丹娜·斯皮羅,達(dá)什·米霍克,艾米麗·梅德,尼可·托托雷拉
米勒一家似乎擁有所有人都?jí)裘乱郧蟮纳睿汉勒⑴苘嚒⒚罎M的家庭。在一個(gè)普通的日子，美麗的妻子薩拉（妮可·基德曼 Nicole Kidman 飾）迎接出差回家的丈夫，成功的鉆石采購商凱爾（尼古拉斯·凱奇 Nicolas Cage 飾）。凱爾回家的同時(shí)青春期的女兒則艾弗瑞（麗亞娜·萊伯拉托 Liana Liberato 飾）瞞著父母偷偷溜出家門去參加朋友家的派對(duì)。可是天有不測(cè)風(fēng)云，一伙由四人組成的搶劫團(tuán)伙闖進(jìn)米勒家，綁架了夫婦二人欲實(shí)施搶劫。艾弗瑞參加完派對(duì)回家也不幸撞到了家中正在發(fā)生的悲劇。面對(duì)喪心病狂的劫匪，米勒一家將怎樣解除危機(jī)？他們是否會(huì)安然無恙？而這看似普通的搶劫背后是否又有不為人知的陰謀和骯臟的秘密？
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),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(yáng)·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.
零食小屋
加布·拉貝爾,David Costabile,米卡·阿卜杜拉
內(nèi)布拉斯加州，1991年，兩個(gè)最好的朋友有機(jī)會(huì)經(jīng)營游泳池小吃店，后來成為越軌、娛樂、個(gè)人發(fā)現(xiàn)和浪漫的完美場(chǎng)景。