癡男怨女
一雙又一雙女人的腿,從墓地上走過,他們纖細(xì)、美麗而動(dòng)人,散發(fā)著芳香、溫柔和女性特有的嬌柔。一個(gè)男人的葬禮竟能吸引這么多女人的到來,那么他究竟是怎樣的一個(gè)男人呢?新浪潮大師特呂弗的《癡男怨女》帶我們走進(jìn)一個(gè)偏執(zhí)的男人的世界。這是一個(gè)關(guān)于愛的故事,也是一個(gè)關(guān)于征服的故事,又或者是一個(gè)關(guān)于男人嗜好的故事。莫倫是一個(gè)接近中年單身男子,在他平常的外表下隱藏著一顆對(duì)女性博愛的心。無論老少,他都會(huì)盡自己的一切能力去關(guān)心,他對(duì)女人的偏愛由他們的玉腿而起,當(dāng)他看到令他動(dòng)心的女子時(shí),他會(huì)不顧一切地去追求,而最終他因?yàn)樽分鹨浑p美麗的玉腿而命喪輪下。 影片在莫倫追逐第一雙玉腿的時(shí)候已經(jīng)為我們展現(xiàn)出這個(gè)浪漫故事的構(gòu)架。莫倫在一家小店里被一雙女人的玉腿吸引著,他在匆忙中只記下了那個(gè)女人的車牌號(hào),通過一起偽造的交通事故,他要求警方為他找到車主。然而警方告訴他,該車是從德國租來的,根據(jù)條例是不能公布車主地址,莫倫以自己的魅力征服了一個(gè)女警察,從她那里得到了車主的地址,然后又大膽地在電話中告訴車主,他為了她已經(jīng)遠(yuǎn)涉重洋,而那位漂亮的女人也因他的神秘和執(zhí)著而感動(dòng),如期赴約。莫倫對(duì)女性有著特有的敏感和細(xì)致入微的那種關(guān)懷,而這正是許多男性身上所不具有的,莫倫是一個(gè)懂女人的人,而他超越常規(guī)的那種偏執(zhí)更是對(duì)女人有著十二分的吸引力。對(duì)于他來說,所有他追逐過的女人他都是真心愛著的,這種愛不同于夫妻之愛,或許是一種對(duì)女性本身的愛,對(duì)女性美的熱愛。也正因?yàn)槟獋惗眯蕾p女性的美麗,才使他能在女人的國度里游刃有余。他將自己所有的故事以回憶錄的形式寫成書稿,一個(gè)女兒國的故事,即單純又富有傳奇色彩。莫倫以自己的一生來完成對(duì)女性的熱愛,而在這背后隱隱透射出男女兩性的個(gè)體差異在愛著莫倫的每一個(gè)女人的背后,都是一段浪漫而富有刺激的故事。莫倫對(duì)女性的征服并不是單純的通過肉體來實(shí)現(xiàn),或者說與女人睡覺只不過是證明自己征服對(duì)方的途徑,在他身上他更注重的是對(duì)女性心靈征服的過程,他迷戀于給女性激情,意外的驚喜,不確定的飄忽的浪漫,或許這也正符合了女性對(duì)感情的飄渺的追逐感。男性與女性,從誕生之初就互相厭惡又互相吸引。從本質(zhì)上說,男人更注重生理的快感,但這并不代表男人不注重感情。;當(dāng)你只想和一個(gè)女人肩并肩睡覺,想和她廝守一輩子而不是占有對(duì)方身體,即不是那種對(duì)女性群體的占有欲的時(shí)候,
即刻觀影
劇情賞析
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蛛仙
孫藝寧,李硯,高廣澤,潘嚴(yán),劉錫明修行千年的寒魄彩蛛蛛兒受佛祖點(diǎn)化化為人形,化身獵妖人下凡,與甘露、芝草、長風(fēng)攜手除魔衛(wèi)道。蛛兒對(duì)甘露情深,卻因人妖殊途陷入痛苦。無虛掌門被妖力反噬企圖奪其修為,蛛兒為救眾人犧牲三千年道行滅魔,最終明白真情所在是芝草。
火拼
方中信,呂良偉,安志杰,張繼聰,陳家樂,錢嘉樂,陳國邦,張文杰,馬思惠,沈震軒香港核心商業(yè)地帶油尖旺地區(qū)近日突發(fā)連環(huán)搶劫大案,區(qū)域內(nèi)多家珠寶店遭遇悍匪團(tuán)伙的洗劫!奉命執(zhí)行任務(wù)的沖鋒隊(duì)Car 3在組長鄭志斌(方中信 飾)的帶領(lǐng)下一路追擊,但查探到的線索卻令鄭志斌心頭一緊。原來,悍匪頭目阮卓龍(張繼聰 飾)、阮卓武(安志杰 飾)是多年前另一樁持槍搶劫案的在逃要犯。如今兩兄弟卷土重來,犯案同時(shí)還不斷向警方挑釁,令整個(gè)警隊(duì)焦灼且困惑。此外,阮氏兄弟的步步緊逼亦令Car 3隊(duì)員張家和(陳家樂 飾)難以自制,鄭志斌看在眼里卻也有心無力…..宿命般的四人在不斷交鋒中,揭開了背后塵封已久的秘密……
180度
德斯蒙德·杜布,法納·莫科納,Prince Grootboom,Warren Masemola,邦基爾·曼賽...
華氏247
絲柯·泰勒-考普頓,克里斯蒂娜·烏洛亞,特拉維斯·范·文克,邁克爾·科彭,泰勒·梅恩,Rene Etore,托尼克·戈格里基亞尼,Jeremy Inabnit,Igor Lukin,Ibrahim Idowu,Michael Zaalishvili,Michael Andrew,Beso Natsvlishvili,George Dugashvili,Mamuka Mazavrishvili II晴朗的一天,三年前痛失男友的珍娜(絲柯·泰勒-考普頓 Scout Taylor-Compton 飾)與好友瑞妮(克里斯蒂娜·尤羅爾 Christina Ulloa 飾)、邁克(邁克爾·科彭 Michael Copon 飾)以及新結(jié)識(shí)的帥氣青年伊安(特拉維斯·范·文克 Travis Van Winkle 飾)前往某個(gè)鄉(xiāng)村,參加當(dāng)?shù)嘏e行的五月節(jié)。湖畔小屋,笑語歡歌,青年男女們縱情歡樂,只有珍娜強(qiáng)顏歡笑,似乎久久無法從三年前的慘劇中走出。隨著夜幕降臨,四人走入桑拿室,體會(huì)無上的蒸汽享受,而危機(jī)也正一步步向他們迫近。在此期間,邁克和瑞妮突然爆發(fā)爭吵,前者奪門而出,大發(fā)雷霆,而瑞妮和珍娜、伊安稍后卻發(fā)現(xiàn),他們?nèi)藚s被意外鎖在桑拿室中。 溫度逐漸升高,而死神的腳步越來越近……
亡命競速
Jason Park,Christopher Deon,Luka Dingess,Brandon Dunlap,Nadia Adelay,朱迪·阮,Oscar Rockwell艾斯與他手下的一隊(duì)精英街頭賽車手,在一個(gè)神秘組織威脅到他身邊之人時(shí),被迫卷入一項(xiàng)高籌碼任務(wù)。在“四朋友”事件之后,他們發(fā)現(xiàn)自己竟在為惡名昭彰的“刺客教會(huì)”效力,并被指派去完成一項(xiàng)不可能的工作。然而,當(dāng)他們不斷突破極限時(shí),卻揭示了一個(gè)令人不寒而栗的真相——失敗本就是計(jì)劃的一部分。在這場腎上腺素飆升的驚悚之旅中,背叛、速度與生存激烈碰撞,真正的競賽不僅為了勝利,更是為了活命。
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.