阿姨，長大后我自己能做嗎

 在星巴克工作的山姆（西恩?潘 Sean Penn 飾），雖已成人，但智力水平只有7歲。一次偶然，他收留了一個流浪女。該女子幫山姆生下了一個女兒后消失得無影無蹤。他給女兒取名叫露西（達科塔?范寧 Dakota Fanning 飾），因為他最喜歡甲殼蟲樂隊的《天空中戴鉆石 的露西》。他非常疼愛自己的孩子。露西在山姆的細心呵護下慢慢地長大了，她發現爸爸不能看懂稍微復雜一些的故事。她在拒絕長大，希望和爸爸一樣。父女倆的生活是那么幸福。地區的教育官員發現了這個特殊的家庭，他們認為山姆沒有能力照顧露西，于是把露西帶走了。傷心極了的山姆一心要掙回露西的撫養權，于是他自以為是的去找該地區最好的律師……

 Former war hero Nikki's peaceful life is shattered when her daughter is kidnapped. Thrust into the criminal underworld while hunted by cops and military, she must fight to rescue her child.

　　《峰回路轉》卡里斯陶倫斯執導，《魔戒三部曲》多明尼克莫納罕、《黑天鵝》柯賽妮亞索羅主演。BDSM結合籠女監禁題材，驚狂混血出擊，讓我養你一輩子！　　超有愛心的賽斯在動物之家工作，他每天細心呵護小動物，對于只有基本工資的日子也甘之如飴。某天她在公車上巧遇學生時期的暗戀對象荷莉，她清新亮麗的氣質讓賽斯內心中沉寂多年的欲望再次被喚醒。　　賽斯企圖要拉近與荷莉之間的距離，可是郎有情妹無意。沒想到兩人久別重逢的首次見面，荷莉竟然失去意識，清醒后她發現自己衣不蔽體，還被關在動物之家地下室的鐵籠之中！愛到失去理智的賽斯口口聲聲表示會這么做，一切都是因為深愛著荷莉。然而，被受困籠中的荷莉也不是省油的燈，各懷鬼胎的兩人隨即展開驚悚離奇的對峙……　　經典的貓捉老鼠游戲，刻畫出爾虞我詐的主從之戰。究竟誰是主人、誰是寵物，不到最后誰也不知道！

　　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.