魔力麥克

★ 5.6 播放：52萬(wàn) 更新：2026-04-27

十九歲的亞當(dāng)（亞歷克斯·帕蒂弗暫無(wú)內(nèi)容Alex暫無(wú)內(nèi)容Pettyfer暫無(wú)內(nèi)容飾）在工地上認(rèn)識(shí)了麥克（查寧·塔圖姆暫無(wú)內(nèi)容Channing暫無(wú)內(nèi)容Tatum暫無(wú)內(nèi)容飾），后來(lái)一次偶遇得知原來(lái)麥克是個(gè)脫衣舞男，而且還是脫衣舞場(chǎng)的臺(tái)柱“魔力麥克”。第一次迷迷糊糊登臺(tái)后，亞當(dāng)嘗到了賺快錢(qián)的滋味。于是麥克領(lǐng)著亞當(dāng)入行，讓他改變行頭，教他跳舞的技巧以及如何取悅挑逗女性。將藝名改為“The暫無(wú)內(nèi)容Kid”的亞當(dāng)，和舞場(chǎng)一眾舞男里奇、肯特、提托以及泰山，度過(guò)了一個(gè)瘋狂、刺激、紙醉金迷的夏天。

在線播放

劇情簡(jiǎn)介

十九歲的亞當(dāng)（亞歷克斯·帕蒂弗暫無(wú)內(nèi)容Alex暫無(wú)內(nèi)容Pettyfer暫無(wú)內(nèi)容飾）在工地上認(rèn)識(shí)了麥克（查寧·塔圖姆暫無(wú)內(nèi)容Channing暫無(wú)內(nèi)容Tatum暫無(wú)內(nèi)容飾），后來(lái)一次偶遇得知原來(lái)麥克是個(gè)脫衣舞男，而且還是脫衣舞場(chǎng)的臺(tái)柱“魔力麥克”。第一次迷迷糊糊登臺(tái)后，亞當(dāng)嘗到了賺快錢(qián)的滋味。于是麥克領(lǐng)著亞當(dāng)入行，讓他改變行頭，教他跳舞的技巧以及如何取悅挑逗女性。將藝名改為“The暫無(wú)內(nèi)容Kid”的亞當(dāng)，和舞場(chǎng)一眾舞男里奇、肯特、提托以及泰山，度過(guò)了一個(gè)瘋狂、刺激、紙醉金迷的夏天。

導(dǎo)演精選

貝爾女巫縈繞

　　故事?lián)鎸?shí)事件改編，本片由羅伯遜縣警長(zhǎng)手機(jī)和攝像機(jī)的尸體上為素材，制造了一起靈異事件……

獵夢(mèng)人

　　故事發(fā)生在2050年，藍(lán)小瑋是一個(gè)研究員，她研發(fā)了“零接觸”的技術(shù)--通過(guò)佩戴特殊的頭盔，將兩個(gè)人的腦電波連接起來(lái)實(shí)現(xiàn)夢(mèng)境的連接。這天，一個(gè)便衣警探余警官找到研究所，要求小瑋使用零接觸的技術(shù)幫他偵破一個(gè)極為棘手的案件。小瑋覺(jué)得這案件跟母親的昏迷案件有關(guān)，盡管知道危險(xiǎn)，還是不聽(tīng)父親的阻止，接受這個(gè)任務(wù)了。小瑋通過(guò)網(wǎng)絡(luò)連接的方式進(jìn)入昏迷者易田的夢(mèng)境，隨后搗蛋的余警官也偷偷尾隨而來(lái)，兩人在這個(gè)奇怪的世界跌跌撞撞，搞笑百出，也危險(xiǎn)重重，兩人配合警探父親，終于找到真兇竟然就是實(shí)驗(yàn)室的研究員，至此故事告一段落。

等待方舟

　　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.