清水みさと – 一途なキモチ

　　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.

　　克隆技術(shù)在不遠的未來有了長足的進步，但復制人仍是法理上不可逾越的禁區(qū)，政府通過《第六天法》嚴格禁止克隆人。　　飛行員亞當（Arnold Schwarzenegger 飾）擁有幸福的家庭，他出于本能的厭惡那些違背自然規(guī)律的基因技術(shù)。亞當平時的工作是和搭檔送游客上雪峰，這天他們?yōu)閷櫸锟寺」镜睦习迩】耍═ony Goldwyn 飾）服務，搭檔頂替亞當駕駛卻發(fā)生了意外……回到家中的亞當發(fā)現(xiàn)居然有一個克隆人頂替了自己的位置參加他的生日宴，莫名驚恐之下他又被來路不明的殺手追殺，他很快明白自己成為了寵物克隆公司的人類復制試驗品，做為母體，他面臨被消滅的危險。　　在逃亡的過程中亞當與暴力反對克隆人計劃的組織合作，成功潛入寵物克隆公司，并控制了克隆人技術(shù)的負責人威爾博士……

在社交網(wǎng)絡(luò)上偽裝女性，用話術(shù)誘騙無親無故的男性套取個人信息，從事戶籍買賣的拓也（北村匠海 飾）和守（林裕太 飾），自幼在惡劣環(huán)境中長大，不知不覺已成為黑道組織的爪牙。                                                                      　　盡管涉足灰色產(chǎn)業(yè)，這兩個時常插科打諢的年輕人，本質(zhì)上只是普通的都市青年，彼此相依為命。當拓也在黑道引路人、猶如兄長般存在的梶谷（綾野剛 飾）的協(xié)助下，決心與守一同逃離這個黑暗世界時，等待他們的卻是......

　　胡家莊年味漸淡，寒暑異常，舞獅少年羅川跳脫飛揚，異想天開，夢想把舞獅技藝發(fā)揚光大，卻常常弄巧成拙，所到之處雞飛狗跳，被村民視為“掃把星”，是村長胡長禮眼中的“危險分子”。年獸小五意外降臨人間，大鬧村莊，勾走了傳家寶——獅頭。羅川為找回獅頭，和下凡捉年獸的鼠仙阿細相識，兩人逐漸發(fā)現(xiàn)年獸并不可怕，可以和人類做朋友，但胡長禮愛村心切，被噬靈妖蠱惑，遁入瘋魔，制造了一場針對年獸的陰謀，最終羅川和阿細聯(lián)合村民，打敗了噬靈妖，喚醒了胡長禮，胡家莊重歸熱鬧，眾人歡歡喜喜迎接春節(jié)到來。