「為什么大家討厭警察？」男孩詢問母親。身為警察的史黛芬妮，負(fù)責(zé)的卻是警察暴力與失職案件調(diào)查。2018年，一名青年隨親友來到巴黎參與街頭抗議，卻因警方開槍，導(dǎo)致永久性腦部損傷。家人提出指控，警方卻矢口否認(rèn)，關(guān)鍵證據(jù)亦是不足。內(nèi)外壓力夾攻之下，史黛芬妮仍奮力調(diào)查，調(diào)閱攝像頭比對、還原警員動線，越逼近真相之際，同僚的敵意也越發(fā)強(qiáng)烈??

　　知名電視財(cái)經(jīng)專家李·蓋茨（喬治·克魯尼 George Clooney 飾）在電視財(cái)經(jīng)節(jié)目《金錢怪獸》中擔(dān)任主持人而聲名大噪，在節(jié)目中經(jīng)常出現(xiàn)瘋狂舉動，會大聲說出投資建議，不時在節(jié)目中用搞笑的道具和音效介紹股市。然而，事實(shí)上他是透過內(nèi)線消息讓他在華爾街成為賺錢高手。一名不速之客（杰克·奧康奈爾 Jack O'Connell 飾），因?yàn)槁犘磐顿Y分析而賠光積蓄，因此在節(jié)目直播中綁架了蓋茨與節(jié)目制作人帕蒂·芬恩（朱莉婭·羅伯茨 Julia Roberts 飾）。同時全國民眾也透過電視在看著這場玩命直播，而這場挾持行動也揭發(fā)了背后更巨大的金融操弄丑聞。

　　32歲的勞倫·柯倫（克里斯蒂娜·里奇）和丈夫羅素（布萊登·佛雷切）搬進(jìn)了設(shè)備先進(jìn)齊全的新公寓。剛剛因?yàn)槭ズ⒆佣馐芰诵睦韯?chuàng)傷患躁郁癥的勞倫對公寓的安保監(jiān)控系統(tǒng)很滿意，但隨后發(fā)現(xiàn)公寓里有些不對勁，她懷疑酒店的擁有者暗中非法操控住在其中的用戶，但她的丈夫認(rèn)為這些都是她的想象。勞倫獨(dú)自開始調(diào)查建造公寓的公司，并雇傭了一個幫手-陰謀論者弗儂·沙斯菲爾德（約翰·庫薩克）。弗儂認(rèn)為這間公寓是個試驗(yàn)場所，里面的住戶是個巨大洗腦陰謀的小白鼠。隨著調(diào)查深入，勞倫也遇到了生命威脅……

　　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.