3合1 3 Efes(中字)

評分:3.1 播放:64萬 更新:2026-04-25

Sissi是一位失業的鰥夫的小女兒,她努力養家糊口,同時夢想著與足球運動員男友同住一間公寓。馬蒂娜的財務狀況更加穩定,她很難再被她的丈夫或身邊的人所渴望。吉安已經改變了她的生活,并且可以影響西西的未來。根據瓦拉達雷斯教授的說法,這三個女人只想滿足她們最基本的胃口:食物、性和脂肪。

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西謊極落之太爆太子太空艙

周柏豪 ,張繼聰,蔡瀚億,林敏驄,林盛斌,雨僑,連詩雅,陳詩慧,莊鍶敏,周祉君,杜小喬,宋本中,徐浩昌,吳志雄,盧宛茵,鄭丹瑞,盧覓雪,趙善恒,張學潤

  獅子山下的香港,是一個謊言也被美化成「語言藝術」的荒謬都市,要騙得到別人,先要騙到自己,在這繁華都市的一個貧困角落,是一個個比劏房更非人道的「太空艙」,在這些六遲x四遲的棺材式住宅中,住一班快要連自己也騙不下去的人。  網客子軒,網上是人氣爆燈的樓市評論家,現實中卻是欠負 累累,屋租也交不起的網路打手,為了省錢還債,騙女友到紐約實習,實情是搬到「太空艙」,在網上裝著「紐約客」的生活,子軒卻在這個環境惡劣的「太空艙」中認識更多「太空人」…  年少時抱著熱血江湖夢的古惑仔阿鋒,卻遇上回歸后社團事業轉形型,十多年來越混越差,竟淪為水貨客,江湖變作羅湖,鬱鬱不得志阿鋒等待機會多年,卻在一次為維穩活動中,錯手重創高官,成為人民英雄!  釋囚瑞昌為糊口,重操故業持械行劫,一次犯案中無意中竟讓昔日獄友強姦犯阿全成為救得美人的英雄,突然正義的瑞昌決定為自己作孽贖罪!  神神化化,常胡言亂語,在太空艙開設骨灰龕生意的阿成,有著一套異于常人的生活哲學,卻遇上一頭身價二百萬的失犬!  疼愛女友的貨van司機阿明,為找一個可以和女友好好親熱的安樂蝸歷盡千辛萬苦,甚至將貨van改裝成「浪漫車床」旅居郊野公園,本意為萬事俱備溫馨之夜,卻變成一場槍戰飛車大逃亡!  這群「來自太空艙的男人」為著心中的理想生活,在一個又一個謊話之中掙扎求存,體現真正的香港精神:自欺欺人!向著墮落的軌跡,跌進極度荒謬境地!

魔法壞女巫2

辛西婭·埃里沃,愛莉安娜·格蘭德,杰夫·高布倫,楊紫瓊,喬納森·貝利,伊桑·斯萊特,瑪麗莎·博德,彼特·丁拉基,科爾曼·多明戈,亞當·詹姆斯,艾米麗·蒂爾尼,艾琳·巴特爾,邁克爾·瓜內拉,莎拉-杰恩·里德爾,雅雅·哈姆扎,瑞安·曼,喬爾·斯特恩,利里奧·博阿滕,莉茲·艾森,里卡多·盧德羅·蘇薩,卡勒姆·鮑耶

  自從艾芙芭(辛西婭·埃里沃 飾)與格琳達(愛莉安娜·格蘭德 飾)分道揚鑣、形同陌路之后,各自承受她們做出的抉擇所帶來的后果。  被冠上“西方壞女巫”惡名的艾芙芭遭到放逐后,隱居在奧茲國樹林深處,但是卻仍然為被噤聲的動物爭取自由而奮斗,并且迫切地想要揭露她所知道關于奧茲國大巫師(杰夫· 高布倫 飾)的真相。  與此同時,格琳達已經成為奧茲國光鮮亮麗的良善象征,她住在翡翠城皇宮中, 享受她的響亮名聲和超高人氣所帶來的明星光環與特權。在莫里貝爾夫人(楊紫瓊 飾)的安排下,格琳達成為奧茲國人民眼中充滿粉紅泡泡的安撫力量,并且讓他們相信奧茲國在大巫師的統治之下一切都很好。  當格琳達的明星光環越來越閃亮,她也準備和費耶羅王子(喬納森·貝利 飾)舉行一場盛大的婚禮,但是她卻一直受到她和艾芙芭分開后的陰影所糾纏。她試圖促成艾芙芭與大巫師之間的和解,然而她所有的努力都以失敗告終,使得艾芙芭和格琳達的關系越來越疏遠。她們的關系決裂所造成的影響,將徹底改變博克(伊森·斯萊特 飾)與費耶羅的命運,也將威脅到艾芙芭的妹妹涅莎蘿絲(瑪麗莎·博德 飾)的安危,而一名來自堪薩斯州的少女也將闖入奧茲國,徹底翻轉他們的世界。  當一群憤怒的民眾揭竿而起,打算對抗西方壞女巫,格琳達和艾芙芭就必須最后一次攜手合作。當她們的友情成為改變她們未來的關鍵,她們就必須以真心誠意和無比的同理心真正了解彼此,并且改變自己,也讓整個奧茲國變得更美好。

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.

西伯利亞的理發師

朱莉婭·奧蒙德,歐列格·緬希科夫,阿列克謝·彼得連科,理查德·哈里斯,弗拉基米爾·伊林

  在一輛開往莫斯科的火車上,軍事學院的學生安德烈.托爾斯泰(歐列格·緬希科夫 Oleg Menshikov飾)偶遇了風情萬種的美國女人珍(朱莉婭·奧蒙德 Julia Ormond 飾),兩人暗生情愫。珍謊稱自己是個寡婦,來俄羅斯看 望瘋狂的機械師父親(理查德·哈里斯 Richard Harris 飾),但實際上是被請來騙取軍事學院院長拉德洛夫將軍(阿列克謝·彼得連科 Aleksey Petrenko 飾)信任的交際花,好讓機械師的“西伯利亞理發師”伐木機能夠順利駛進西柏林亞。但是沒想到將軍對珍動了真感情,并想向她求婚,而安德烈對珍的感情愈演愈烈,珍一方面想接受安德烈的感情,另一方面又想完成任務,于是事件發展到了不可收拾的地步。在一次演出中安德烈因為嫉妒和誤會,抽傷了院長,被流放到了西伯利亞。在火車站上盡管珍趕上了最后的送別,但是安德烈始終沒能和珍見最后一面。十年后,珍終于在西伯利亞找到了安德烈的住所,但終究逃不過命運的改變……若干年后珍回到了美國,把這段往事在信中講述給了軍事學院的兒子。