該片劇本排2018年好萊塢“劇本黑名單”第二，講述理查德·威廉姆斯的真實故事，這位精明務(wù)實、不屈不撓、沒有任何網(wǎng)球背景的父親培養(yǎng) 出了兩個網(wǎng)球天才，她們后來成了超級巨星——維納斯·威廉姆斯和塞雷娜·威廉姆斯(大威小威)。理查德·威廉姆斯為女兒們的職業(yè)網(wǎng)球生涯起草了一份78頁的計劃，女孩們在康普頓破舊、雜草叢生的公共球場上學(xué)會了這項運動。據(jù)報道，在那之前，她們的父親與一些不喜歡這項運動、不肯讓位的年輕硬漢發(fā)生了爭執(zhí)。威廉姆斯姐妹后來成為了網(wǎng)球史上最偉大的女選手之二。

　　貝多芬（岑建勛 飾）和阿秋（吳耀漢 飾）是一對好朋友，也是搞笑鬼馬的便衣搭檔。他們常將警局鬧得不可開交，連上司陳辦（陳欣建 飾）也頭疼不已。不過，自從阿秋和安娜（葉德嫻 飾）結(jié)婚之后，貝多芬就變得孤苦伶仃，可憐兮兮。最終貝多芬搬到了阿秋家，和這對小夫妻湊成一個笑料百出的三人世界。　　陳辦不堪其擾，將二人調(diào)到素有“鯊魚田”之稱的田警司（田俊 飾）麾下，兩人被好好整了一番，苦不堪言。另一方面，陳辦在執(zhí)行任務(wù)時被多年前的宿敵飛天蠄蟧（林正英 飾）陷害。貝多芬和阿秋深知老上司被冤枉，于是明察暗訪，發(fā)誓揪出幕后真兇……

　　十三，一個聽起來就有些陰冷的數(shù)字。在一座大廈的第十三層，科學(xué)家道格拉斯?霍爾（克雷戈?比克飾）和漢農(nóng)?富勒（阿明?繆勒－斯塔爾飾）用電腦模擬出一個逼真的1937年的洛杉磯，他們可以通過電腦進入這個虛擬世界，真實地體驗1937年的生活與自己。然而一個夜里，富勒被人殺死，種種線索都表明似乎是霍爾所為。可霍爾卻對當(dāng)天夜里的事情全無記憶。這時一個自稱是富勒女兒的女人又神秘出現(xiàn)，可霍爾從未聽富勒說過自己有女兒……為了找到兇手明曉真相，霍爾循著富勒留下的線索來到虛擬世界中，他離真相越來越近了……近到窒息……

　　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.