即刻觀影
劇情賞析
編輯推薦
靶場
凱莉·康奈爾,史蒂芬妮·皮爾森,羅德·埃爾南德斯,安東尼·科洛,阿萊克薩·伊姆斯,杰森·托比亞斯,Aion Boyd,Eric Matuschek,Ikumi Yoshimatsu,Hana Burson,Chris Powell,Graham Skipper,Nick Burson,Emory Lawrence莎拉（艾麗莎·易默思 Alexa Yeames 飾）、托德（羅德·赫爾南德茲 Rod Hernandez 飾）、杰夫（杰森·托比亞斯 Jason Tobias 飾）、艾瑞克（安東尼·科洛 Anthony Kirlew 飾）、凱倫（斯蒂芬妮·皮爾森 Stephanie Pearson）、朱迪（凱莉·科耐爾 Kelly Connaire 飾）等六名大學生利用假期驅車游玩，途中他們的汽車爆胎。不巧的是他們拋錨的地點信號太差，四周前不著村后不著店，她們只能自己動手修理汽車。身處荒郊野外，年輕人們只能耐心等待旅途的再度開啟。誰知就在這時候，其中兩人被不知來自何方的子彈射中，相繼慘死在烈日之下。恐慌迅速彌漫，而無情的子彈則接二連三射向他們。 不知何時，他們已經闖入無情殺手的狩獵場，成為逃生希望渺茫的獵物……
畫筆與旋律
Laura Chiatti,Salvatore Langella,Filippo Nigro馬蒂亞是一個畫家，與一位有抱負的歌手同居，他靠藝術市場的變化來謀生。
一個叫小小船的男孩
J·K·西蒙斯,杰克·布塞,諾爾·古格雷米,盧·坦普爾,麗莎·德·拉佐,伯納德·庫里,Patricia Kalis,Jamille James,尼克·法內爾,Julian Atocani Sanchez,Addam Bramich,Miranda Skerman,Keanu Wilson,Zeyah Pearson,杰西卡佩斯在飽受干旱困擾的小鎮中，一個拉美裔家庭給他們唯一的兒子取名為“帆船”。帆船給他的家人帶來了新的愛和希望。一天下午他帶回了一把小吉他。從這一刻起，帆船和他的吉他形影不離。病重的祖母希望他為她寫一首歌，帆船迎難而上，創作了有史以來最偉大的歌曲。
侏羅紀統治
Eric Roberts,Jack Pearson,Jamie BernadetteIn Jurassic Domination, “When two military-made, weaponized dinosaurs attack a small mountain town, it’s up to the sheriff to figure out a way to stop the creatures before the dinos escape and wreak havoc nationwide.” Eric Roberts (The Dark Knight), Jack Pearson (Pam & Tommy), and Jamie Bernadette (“NCIS: New Orleans”) lead the movie’s cast.
浴火之森
貝倫·奎斯塔,戴安娜·戈麥斯,恩里克·奧克爾,華金·弗里爾失去丈夫后，瑪格達帶著女兒萊德前往森林中的避暑別墅，準備將其出售。這原本是為了治愈創傷的第一步，卻因萊德失蹤和突發森林大火而發生了意外轉折。
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.