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我是山姆
西恩·潘,達科塔·范寧,米歇爾·菲佛,黛安·韋斯特,洛雷塔·迪瓦恩,理查德·希夫,勞拉·鄧恩抖擻
馬克·沃爾伯格,保羅·沃爾特·豪澤,薩莎·拜倫·科恩,本杰明·布拉特,盧西亞諾·薩法爾,艾娃·德·多米尼奇,丹妮拉·曼希沃,莫莉·香儂,切爾茜·克里斯普,埃里克·安德烈,杰克森·托澤爾,亨利埃塔·阿梅沃爾,阿貝·法雷利,瑞恩·謝爾頓,娜塔麗·奧利維拉,提亞戈·莫拉斯,斯隆·費希爾,詹尼·德古拉,朱麗安娜·卡斯特羅,伊恩·阿達姆森觸電2025
林敏驄,陳穎欣,柯煒林,伍詠薇,蘇皓兒,羅莽,馮素波,盧慧敏,陳毅燊,陳苡臻,吳肇軒,羅浩銘甜蜜與卑微
西恩·潘,薩曼莎·莫頓,Dan Moran,烏瑪·瑟曼,Brian Markinson浪扼三焦
卡拉·朱里,Véronique Tshanda Beya,Esperanza Martin González-Quevedo,Alessia Raschellà,沙夏·萊伊女孩2025
邱澤,湯毓綺,白小櫻,林品彤,賴雨霏,劉品言,陳竹升,曾珮瑜,梁正群,謝瓊煖,黃鐙輝,劉冠廷同類推薦
有罪,AI如此宣判
芳根京子,臼田麻美,橋本淳, 井內悠陽,小川冬晴,濱田信也,藤井直樹,荒井敦史,坂口涼太郎,兒島雄一,巖谷健司,岸本鲇佳,淺野和之,風吹淳,國村隼新人法官高遠寺圓(芳根京子飾)每日忙于庭審中的證人詢問、審閱證據與鑒定報告、檢索判例以及撰寫判決書等工作。某日,圓被委以重任,負責測試性引入法院的AI系統“法神”。當輸入過往審判數據后,“法神”瞬間生成的判決書與法官苦心撰寫的文書毫無二致,判決結果也完全一致。法官們為工作效率的飛躍提升欣喜不已,唯獨圓對“法神”始終心存警惕。 圓與臨近退休的法官檜葉共同負責一宗18歲少年刺殺生父的案件。作為審判長的檜葉在開庭前將數據輸入“法神”進行判決模擬,AI瞬間給出的判決是“死刑”。 對AI能力深感興趣的檜葉。對AI愈發警惕的圓。當陪審員們也卷入其中時,人們再度直面探尋真相的艱難困境。究竟誰能辨明真相?是AI?是人類?還是??? 這部社會派娛樂作品直面當下以驚人速度滲透社會的AI技術,深刻叩問使用AI的人類應有的姿態!
機動戰士高達00劇場版先驅者的覺醒
宮野真守,三木真一郎,吉野裕行,神谷浩史,本名陽子,東地宏樹,高垣彩陽,戶松遙,小笠原亞里沙,高山南,濱田賢二,中村悠一,上田祐司,釘宮理惠,入野自由,齋藤千和,磯部勉,古谷徹,藤田淑子,恒松步,根谷美智子,川島得愛,白鳥哲,梅津秀行,早水理沙,佐藤有世,松本保典,置鲇龍太郎,谷口節,小室正幸,白石涼子,游佐浩二,小形滿,古島清孝,清水美智子,奈良徹,星野貴紀,佐藤健輔,廣田詩夢,勝地涼【故事簡介】利翁茲·奧馬克與天人的戰斗以真正的改革者剎那·F·清英等人的勝利拉上了帷幕。獨立治安維和部隊A-Laws解體,世界終于走向了和平。這樣過了兩年,西歷2314年,表面上消失了的天人為了防止戰爭發生仍然在暗處活動著,這時,新的戰爭打響了信號。再次集結起來的高達駕駛員們乘坐著新式高達,開始了戰斗!【STAFF】企畫:sunrise原作:矢立肇、富野由悠季腳本:黑田洋介人設原案:高河弓動畫人設:千葉道德機體設定: 海老川兼武、柳瀨敬之、福地仁、鷲尾直廣、寺岡賢司、中谷誠一、大河原邦男動畫機體設定: 中谷誠一美術設定:須江信人(KUSANAGI)美術監督:若松榮司(KUSANAGI)色彩設計:手島明美(Wish)音響監督:三間雅文攝影監督:葛山剛士(旭Production)旁白:古谷徹制作人:池谷浩臣(sunrise)、佐々木新(sunrise)監督:水島精二制作:創通、sunrise
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.
甜蜜與卑微
西恩·潘,薩曼莎·莫頓,Dan Moran,烏瑪·瑟曼,Brian Markinson故事發生在20世紀的30年代,雷(西恩·潘 Sean Penn 飾)是當時紅極一時的爵士樂傳奇人物。由于早年生活困頓,成名后雷養成了揮金如土的惡習,壓抑許久的他放縱自己迷失在由金錢和美女組成的奢侈世界里?! ∫晃幻泻5伲ㄋ_曼莎·莫頓 Samantha Morton 飾)的普通洗衣女工深深的愛上了雷,愿意為雷付出一切,而雷亦對單純的海蒂抱有好感??墒?,此時的雷并不想過早的走入安定的家庭生活,更何況,雷可是一位藝術家啊,對于藝術家來說,婚姻難道不正是靈感的墳墓嗎?就這樣,雷和海蒂漸行漸遠。之后,雷娶了性感妖嬈的作家布蘭奇(烏瑪·瑟曼 Uma Thurman 飾),卻發現布蘭奇是比自己還要放浪形骸的“交際花”。直到此時,雷才想起了海蒂的好,可是雷沒有把握,這個單純可愛的女孩如今還會一如既往的包容他,接納他嗎?
天啟四騎士
丹尼斯·奎德,章子怡,盧·泰勒·普奇,小克利夫頓·克林斯蘭斯林(丹尼斯·奎德 Dennis Quaid 飾)警官同時也是一個單身父親,因公務繁忙,他無暇照顧兩個兒子,大兒子亞歷克斯無形中時常扮演父親的角色。最近蘭斯林被一樁連續殺人案纏住,每個兇案現場都發現了至少四名嫌疑人的蹤跡,并且統一留下了“過來看”的血色留言,死者死于懸掛的狀態充滿了宗教意味,蘭斯林從人體懸掛的鐵架入手,發現這一干罪犯以殺人作為宗教儀式,并且以啟示錄中記載的“天啟四騎士”自居。第一個受害者的華裔養女克里斯汀(章子怡 飾)主動找到蘭斯林,坦承了自己與連續殺人案的關系,但是這不能阻止更多人受害,蘭斯林驚見自己最不愿意看到的事情發生了……