艾曼妞與最后的食人族
艾曼紐靠為報社提供新聞?wù)掌\生，在醫(yī)院里見到食人族女孩后，她決定深入亞馬遜叢林。她找到了萊斯特教授，并一起來到亞馬遜，借宿萊斯特好友威爾克斯家。次日，艾曼紐和萊斯特帶著威爾克斯的女兒伊莎貝拉等人出發(fā)。進(jìn)入?yún)擦趾螅麄冨忮肆恕矮C人”唐納德和瑪姬夫婦，遂開始一起行動。但很快，他們就遭到了食人族的襲擊……這部意大利在1970年代出品的冒險恐怖片，改編自詹妮弗·奧蘇利文報道的真實故事，更是一部相當(dāng)徹底的Cult片。用一句話來形容本片，就是“什么都沒有，只有血腥和情欲”，所以，心臟不佳或不好這口的人，千萬別看它。影片開場20分鐘是預(yù)熱，但也極其火爆，上來就是一幕護(hù)士被抓掉胸部的殘酷鏡頭，隨后的男女、女女激情鏡頭也比比皆是。進(jìn)入?yún)擦种螅饲橛嬅娼z毫不減外，殘酷的血腥鏡頭大量增加，雖然從效果看，老電影制造粗糙的毛病不難看出，但依然還是很有視覺沖擊力，讓喜愛的觀眾看得大呼過癮。
在線看
同款熱播
圣誕奇遇結(jié)良緣
林子祥,岑建勛,張曼玉,午馬,秦沛,廖啟智,徐錦江故事梗概 本片為香港德寶電影公司的創(chuàng)業(yè)巨制之一，由杰出的攝影指導(dǎo)鐘志文升任導(dǎo)演，是一部熱鬧的浪漫冒險喜劇。內(nèi)容描述一名地下軍火專家制造了一個小型炸彈企圖有所不軌，計劃被助手知悉，以致他殺人滅口，但卻被三名互不認(rèn)識的平凡寂寞人目睹此事件。兩名瘋狂殺手奉命追殺三名目擊者，他們乃展開逃亡，過程中發(fā)揮同舟共濟(jì)的精神來化解危機(jī)。全片是典型以追殺為主戲的娛樂片，但不強(qiáng)調(diào)暴力動作，反而有不少驚險笑料。三個主角的個性也純真好玩，將都市寂寞人偶然碰到刺激遭遇時的反應(yīng)生動地表現(xiàn)了出來。
圣傳
伊倉一壽,速水獎,山口勝平,榊原良子Prophecy says that six warriors will end a brutal tyrant's rule. Swords clash as the battle between good and evil explodes!
貪種滋生
Andrew Boszhardt,艾德里安·恩斯科,切爾西·吉利根,Madison LewisThe bizarre and mysterious suicide of the Wendolyn’s patriarch brings the dysfunctional, pharma family back together. While the family members squabble over their dwindling inheritance, an ancient curse preys on their greed and arrogance. The Wendolyn’s made billions on painkillers, but no drug can kill the pain that they’ll soon endure.
莫·吉里根：活在當(dāng)下
莫·吉里根Follows British comedian Mo Gilligan as he dishes on fame, family and being British in America.
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·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.
落難女子
羅伯特·帕丁森,米婭·華希科沃斯卡,大衛(wèi)·澤爾納,內(nèi)森·澤爾納,羅伯特·福斯特影片被描述為“對西部題材充滿愛意的重塑”。帕丁森飾演的Samuel是一位富有的拓荒者，他冒險穿越邊境，為了與一生摯愛Penelope（米婭·華希科沃斯卡飾）成親。Samuel與一個酒鬼和一匹叫作“奶油糖果”的小型馬同行，然而簡單的旅程卻變得危險重重。