即刻觀影
劇情賞析
編輯推薦
血寡婦
Danielle Lilley,Brandon Kyle Peters,Christopher de Padua青年休·麥克艾利斯特（Brandon Kyle Peters 飾）按照未婚妻未婚妻勞瑞·蘇利文（Danielle Lilley 飾）的意愿，在遠(yuǎn)離喧囂都市的僻靜角落買了一座數(shù)十款長的大房子。喬遷當(dāng)日，勞瑞對新房子既滿意又驚奇，稍后沒多久，馬克（Jose Miguel Vasquez 飾）、安柏（Emily Cutting 飾）、肯尼斯（Christopher de Padua 飾）等朋友驅(qū)車前來，準(zhǔn)備為小兩口開一個盛大的喬遷派對。馬可他們百無聊賴，四處閑逛，結(jié)果強(qiáng)行進(jìn)入一個無人居住的舊房子。青年男女百無禁忌，四處閑逛，根本不知自己已經(jīng)惹到了什么。夜幕降臨，喜歡熱鬧的男女們紛紛云集到休的新居，大開狂歡派對。喜歡肯尼斯的女孩獨自落寞地再次來到那棟空房子，誰知卻被隱藏在這里的恐怖之人殘忍殺害?！ ∧沁厧駳g無度，這邊廂血腥殺戮的閘門緩緩開啟……
幸福2024
洼冢愛流,蒔田彩珠影片改編自《下妻物語》等經(jīng)典作品的原作---嶽本稔明的同名小說。故事講述了得知女友一周后就要死亡的“我”和“她”的青春物語。
搜查瑠公圳
朱軒洋,吳卓源,張世,梁修身,朱栢康,姚淳耀,張永正,李雪,潘儀君,詹懷云,馬力歐,羅芽里,廖嘉琛,王振復(fù),錢薇真根據(jù)1961年轟動全臺的“瑠公圳分尸大案”改編。刑警趙子午（朱軒洋 飾）與記者張秀秀（吳卓源 飾）在得知女尸案有幕后陰謀后，聯(lián)手搏命找尋真相。警方也隨后發(fā)布巨額懸賞。不料，趙子午父親、抗日將軍趙志升（張世 飾）被列為分尸案嫌犯。媒體得知后開始瘋狂報道，一時間這起混雜血案、輿論、政敵的分尸案鬧得全城震動……
弗蘭茨
伊丹·魏斯,彼得·庫爾特,耶諾夫法·波科娃,伊凡·特洛伊,Sandra Korzeniak,卡塔琳娜·斯塔克,塞巴斯蒂安·施瓦茨,亞倫·弗里斯,卡羅爾·舒勒,Gesa Shermuly,揚·布達(dá)爾,約瑟夫·特洛伊,卡雷爾·多布雷,Daniel Dongres,René Hofschneider,米哈爾·伊斯特尼克,弗拉迪米爾·雅沃爾斯基,Václav Jirácek,Michal Kern,Stepán Klán阿格涅絲卡·霍蘭憑借這部迄今為止最具野心的作品達(dá)成了導(dǎo)演生涯的巔峰，她呈現(xiàn)了一部關(guān)于20世紀(jì)捷克標(biāo)志性作家弗朗茨·卡夫卡的傳記片。影片以萬花筒般的拼貼手法構(gòu)建而成，追隨卡夫卡留下的足跡——從19世紀(jì)的布拉格出發(fā)，直至他在維也納辭世，時間跨度涵蓋第一次世界大戰(zhàn)及之后?！陡ダ蚀摹芬黄瑢橛^眾提供一個獨特的視角，一窺這位文學(xué)巨匠背后的人生軌跡。
替補悍警
鮑勃·奧登科克,琳娜·海蒂,布倫丹·弗萊徹,亨利·溫克勒,布萊恩·川上,莎莫·H·豪威爾,德里克·巴恩斯,杰西卡·麥克勞德,Dan De Jaeger,Reena Jolly,勞倫·科克倫,大衛(wèi)·勞倫斯·布朗,卡森·納特拉斯,彼得·新田,辻將太,辛妮·比斯頓,比利·麥克萊倫,瑞恩·艾倫,艾倫·默克,Takahiro Inoue故事發(fā)生在一個名為“諾莫”的偏遠(yuǎn)小鎮(zhèn)，這里看似風(fēng)平浪靜，實則暗流涌動。主角尤利西斯在上一任警長離奇意外身亡后，被委任為臨時警長。當(dāng)鎮(zhèn)上的銀行被一對來自外地的夫婦搶劫時，尤利西斯趕到現(xiàn)場，卻發(fā)現(xiàn)這座小鎮(zhèn)平靜的表象下隱藏著更為險惡的深層秘密——從酒保到神父，鎮(zhèn)上的每個人都是秘密的參與者。而一直試圖逃避過去心魔的尤利西斯，此刻必須揭開這場犯罪陰謀的全部真相。
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·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.