即刻觀影
劇情賞析
編輯推薦
抱得美人歸
亞歷克·鮑德溫,金·貝辛格在二次世界大戰后，即將結婚的花花公子開車到賭城作最后一次尋歡，不料邂逅了美麗的女歌手，并發現了她是賭城大亨巴格西的情婦。他該回到自己的規律生活中，還是繼續追求這段冒險的愛情呢？名編劇家尼爾賽門由自己的愛情經歷創作出本片，對男女之間的感情游戲有深刻的體會，所以劇情雖然簡單，趣味性倒不弱。亞歷克．鮑德溫和金．貝辛格因拍攝本片而牽上紅線，可見其演出投入。此外，金．貝辛格親自主唱片中歌曲，頗有幾分性感歌星的架勢。
比佛利拜金狗
派珀·佩拉博,馬諾洛·卡多納,杰米·李·柯蒂斯,何塞·馬利亞·亞茲皮克,莫瑞·史特林,杰蘇斯·歐喬阿,德魯·巴里摩爾,安迪·加西亞,喬治·洛佩茲克洛伊（德魯·巴里摩爾 Drew Barrymore 配音）是比佛利山的一只吉娃娃狗，被寵壞了的它生活極其奢侈。主人薇薇姑媽（杰米·李·柯蒂斯 Jamie Lee Curtis 飾）要出遠門，把照顧克洛伊的任務交給了安吉拉（愛莉·希爾斯 Ali Hillis 飾）。安吉拉帶著克洛伊和朋友們一起去墨西哥的海灘旅行。來到海灘， 姑娘們立即被健碩英俊的小伙子們吸引了，而克洛伊則在安吉拉的“重色輕狗”下，走失于碩大的墨西哥城中。那些簡陋的街道看起來跟比佛利山大相徑庭。無奈之下，克洛伊只得求助于一些新朋友，包括一只經歷復雜的德國牧羊犬戴戈多（安迪·加西亞 Andy Garcia 飾），和一只多情的小狗帕皮（喬治·洛佩茲 George Lopez 飾），克洛伊在它們的幫助下，振作精神找尋回家的路......
基卡2025
瑪儂·克拉維爾,Makita Samba,托馬斯·庫芒,Suzanne Elbaz,Ethelle Gonzalez Lardued,伯納德·布蘭卡恩,Kadija Leclere,安納爾·斯諾克,Thierry Hellin,埃洛迪·巴特爾斯伴侶猝然離世，39歲的社工琪卡驚覺腹中孕育著新生命。盡管處境艱難，這個獨自面對命運的女人仍決定留下孩子，用柔弱的肩膀扛起守護家庭的重量——在支離破碎的生活里，為未出世的生命筑起體面的避風港。
鋼鐵飛龍之再見奧特曼
侯勇,大張偉,金晨,曲哲明,向佐,羅云熙,郝劭文,汪鐸,屈菁菁保護地球、維護和平，奧特曼對于地球人來說曾經是神一樣的存在，但是近幾十年，他卻消失不見行蹤成謎……隨之取替他的是鋼鐵飛龍精銳小分隊——隸屬于GSB地球安全保衛組織。而GSB近期不斷收到地球能源異常報告，全球各地紛紛出現巨大災難。GSB組織派出鋼鐵飛龍，查明能源異常原因，卻意外發現事件與奧特曼有關系……新舊兩代地球守護者的意外相見，卻成為你死我活的敵對雙方。到底，這是一場意外還是一場陰謀，是誰看到了最后的事實真相？
你行！你上！
姜文,馬麗,張乘郝,王碩瓏,陸一,于和偉,余皚磊,何賽飛,辛芷蕾,雷佳音,葛優,王傳君,胡歌,甄子丹,丁志誠,李屏賓,李子為,曹操,吉娜·愛麗絲這是一對父子的傳奇歷險，也是兩個野心家的一拍即合。從沈陽到美國，從3歲到17歲，彈琴勝似取經，八十八鍵多過八十一難，父子心無雜念，只管埋頭向前，兩人赤手空拳讓美國殿堂藝術精英們刮目相看。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,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.