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養(yǎng)鬼吃人4
Charlotte Chatton平原上的迷途
菲利波·斯科蒂,塞爾吉奧·羅馬諾,皮耶爾保羅·卡波維拉,羅伯托·西特蘭,安德里亞·彭納基,Simone Bergamasco,Francesco Busolin,Diego De Francesco,丹尼斯·法索洛,Nicola Rossato,Giuseppe Messina極限啟航
朱麗葉·塞茜爾,Esmeree Sterling,Brennen Amonett冊殺
牛駿峰,尚語賢,白恩,王奎榮,胡耘豪,李光復(fù),喻亢,馬渝捷,徐筠,鄧志浩,鄔倩,曲戈,陳俊安,姜琦,時(shí)銘健,朱海軍重返侏羅紀(jì)
古銘瀚,楊雪,毛凡,張永華,馬群雄雙生疑云
Anjali,Joju George,Srindaa同類推薦
禁忌凝視
皮婭·吉爾塔,克里斯托弗·約納爾,塔雷克·扎亞特,Kristoffer Sagmo Aalberg,Ismael Al-Khazaali,Ibrahim Amaev,Anna Bakke,Negusse Berhe,Selma Brattab?,Osama Dabagh,Benjamin Ebbesen,Ragnhild Gudbrandsen,Johannes Hageseter,凱瑟琳·索博格·約翰森,Téa Gr?nner Joner,Celine Knag,Nj?l Lambrechts,Kenn艾娃是一位受人歡迎的教師，她的丈夫是當(dāng)?shù)氐氖虚L。盡管他背叛了她的信任，她仍然計(jì)劃支持他的競選活動，因此她開始在當(dāng)?shù)氐囊粋€難民中心做志愿者。在這里，她與18歲的難民阿米爾親近起來，他的詩歌才華深深吸引了她。然而，他們越走越近，她對局勢的掌控就越少。這部關(guān)于禁忌之愛的戲劇《別叫我媽媽》讓主角們面臨道德考驗(yàn)，同時(shí)挑釁性地探討了虛偽如何偽裝成慷慨。充分利用了自己作為選角導(dǎo)演的經(jīng)驗(yàn)，尼娜·克納格從演員皮婭·蒂耶塔、克里斯托弗·約納和塔雷克·扎亞特那里得到了出色的表現(xiàn)。
登帕卡農(nóng)
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狼人2025
克里斯托弗·阿波特,朱莉婭·加納,瑪?shù)贍栠_(dá)·弗思,山姆·賈格,本·普倫德加斯特,扎克·錢德勒,本尼迪克·哈迪,米洛·考索恩,雷·沃納爾,羅伯·馬克布萊德布雷克（克里斯托弗·阿波特 Christopher Abbott 飾）是一名住在舊金山的丈夫和父親。當(dāng)他自己的父親失蹤并被判定死亡之后，他繼承了他位于俄勒岡州鄉(xiāng)下偏遠(yuǎn)地區(qū)的童年老家。當(dāng)他和他事業(yè)有成的女強(qiáng)人妻子夏莉特（朱莉婭·加納 Julia Garner 飾）的婚姻逐漸走向破裂，布雷克就說服夏莉特帶著他們年幼的女兒金潔（瑪?shù)贍栠_(dá)·弗 思 Matilda Firth 飾）一起離開城市，前往他的童年老家度假。 但是當(dāng)這一家人在深夜來到這座農(nóng)舍時(shí)，他們突然遭到一只看不見的怪獸攻擊，為了逃離危險(xiǎn)，他們就躲進(jìn)農(nóng)舍里面，并且將所有入口封住，而那只怪獸則在外面徘徊。當(dāng)他們驚懼地試圖度過漫漫長夜時(shí)，布雷克卻開始出現(xiàn)奇怪的舉動，而且逐漸變成一種不知名的怪物，于是夏莉特就被迫必須決定：到底是屋內(nèi)的恐怖更致命，還是外面的危險(xiǎn)更可怕？
何以陽光
宇桐非,梁鏡珂,蘇一龍,李華,鄭龍,孟靖,張綺煙肖首英是一位放浪不羈的拳擊手，因?yàn)閰⒓尤瓝舯荣悾チ嘶疾〉钠拮樱瑥拇艘货瓴徽瘢饝?yīng)妻子以后退出拳臺，絕不會讓兒子肖凱去打拳。肖凱從小就有打拳的天賦，但肖首英一直在阻攔，肖凱偷偷的報(bào)名參加了拳擊比賽，最后贏得了冠軍，從此打開了父親的心結(jié)
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.