劇情簡(jiǎn)介
艾旦影視,海外影院,海外影視,海外YY,海外搶先電影,海外手機(jī)影院,海外影院APP,海外中文影視,海外影視網(wǎng),海外華人影院,海外影院tv,蛋蛋電影網(wǎng),海外福利影院,haiwaiyingyuan
為你推薦
“騎”逢對(duì)手
那馨,李夢(mèng)男,任悅鳴,龐統(tǒng),閆震寧,陳家葆影片講述善良的外賣騎手劉大鵬偶然救了一位富翁，對(duì)富翁千金馬小蕓一見(jiàn)傾心，而馬小蕓正陷入一場(chǎng)險(xiǎn)惡圈套中，劉大鵬挺身而出，幫助馬小蕓戰(zhàn)勝邪惡的故事。
重大發(fā)現(xiàn)
尼爾·布林,丹妮爾·安德雷德一位計(jì)算機(jī)科學(xué)家/小說(shuō)家與他兒時(shí)的朋友團(tuán)聚，并闖入政府?dāng)?shù)據(jù)庫(kù)，同時(shí)面對(duì)他小時(shí)候所獲得的神秘行為的可怕后果。
養(yǎng)鬼吃人3
Terry Farrell , Paula Marshall , Kevin Bernhardt , Doug Bradley在經(jīng)歷了前兩集的失敗之后,修道士還不死心.他發(fā)現(xiàn)那個(gè)邪惡的魔方被一個(gè)花花公子買走了,于是他以這個(gè)花花公子做誘餌來(lái)吸引犧牲品,在人間大開(kāi)殺戒.修道士打算把魔方毀去,這樣他就永遠(yuǎn)不用再回到地獄.但是一個(gè)女記者發(fā)現(xiàn)了這些可怕的兇殺案,并將修道士又一次送回了地獄.....
化身博士
弗雷德里克·馬奇,米利亞姆·霍普金斯,羅絲·霍巴德,福爾摩斯·赫伯特基克爾（弗雷德里克·馬奇 Fredric March 飾）是一名知識(shí)非常淵博的科學(xué)家，他將畢生的經(jīng)歷都投注到了探索人性的善惡奧妙之中，并且最終制造出了一種可怕的藥劑，這種藥劑能夠令基克爾化身成為海德先生，基克爾將自己所有的惡意和壞念頭都投射到了海德的大腦里。白天，基克爾行醫(yī)救人樂(lè)善好施，待到夜幕降臨，海德先生便會(huì)現(xiàn)身，殺人害命，無(wú)惡不作。基克爾有一位名叫伊芙（米利亞姆·霍普金斯 Miriam Hopkins 飾）的未婚妻，兩人之間的感情非常的要好，然而，海德先生的存在讓基克爾不自覺(jué)的被名叫碧翠絲（Eric Wilton 飾）的放蕩妓女所吸引。分裂的人格讓基克爾感到萬(wàn)分的痛苦，他想要消滅海德先生。
看不見(jiàn)的女兒
阿登·楊,茱莉亞·莎拉·斯通,Camille SullivanA man, who years earlier mysteriously abandoned his family and isolated himself in a small northern town, returns for one last chance to reconnect with his troubled daughter. When she goes missing, he risks everything to find her, including exposing the fact that he is becoming invisible.
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.
那個(gè)人在想什么事情
John Price,Preben Neergaard,Lotte TarpThe main character is Dr. Max Holst, a successful neurosurgeon. One day an intense little man named Steinmetz shows up, who has the real ability to create objects out of thin air, using only his mind. As no one believes him at first, he is held at a ward for mental patients, but manifests the key to his door and escapes. As he has a special interest in Dr. Holst, Steinmetz subsequently invites Holst to his large mansion, which is full of expensive paintings and sculptures, and proves to him that he can in fact materialise objects. Steinmetz’s abilities are evolving by leaps and bounds, and is progressing from being able to create objects only to being able to create living things. His ultimate ambition is to be able to create a human being. He tells Dr. Holst that if he will only perform a certain brain operation on him, Steinmetz will become able to attain his goal. He’s got all the necessary equipment set up in his basement. Dr. Holst, however, is too spooked by the whole thing to agree to this mad scheme, and refuses. Steinmetz then sets about manipulating Holst’s life, to pressure him into performing the operation. By then Steinmetz has become able to create a temporary human being, and in the hope that he can perhaps make his own creation perform the operation, he manifests a doppelganger of Dr. Holst. This double proceeds to take over Dr. Holst’s life, creating chaos for him professionally and personally. And then Dr. Holst starts fighting back. The ending has the dual virtue of being both unexpected and satisfying.