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艾瑪·羅伯茨,海登·克里斯滕森,艾莉莎·米蘭諾,丹尼·愛羅,安德列·馬丁,簡·西摩,蓋里·巴薩拉巴,亞當·費拉拉,琳達·卡辛,克里斯蒂娜·羅塞托藍調之歌
休·杰克曼,凱特·哈德森,邁克爾·因佩里奧利,費舍·史蒂芬斯,詹姆斯·貝魯什,艾拉·安德森,金·普安公主,穆斯塔法·沙基爾,Bob Roseman,杰森·華納·史密斯,羅伯特·約翰·加拉格爾,Eva Kaminsky,Beth Malone,馬特·戈爾斯基,Sean Allan Krill,T. Oliver Reid,Tom O'Keefe,鮑里斯·倫敦,Johnny Olmez,Faye Tamasa落難女子
羅伯特·帕丁森,米婭·華希科沃斯卡,大衛·澤爾納,內森·澤爾納,羅伯特·福斯特真情未語
Juan Karlos Labajo,JC·桑托斯,RK Bagatsing,Jaime García Herranz1922
托馬斯·簡,莫莉·帕克,迪蘭·施密德,凱特琳·伯納德,尼爾·麥克唐納,坦婭·錢普,布萊恩·達西·詹姆斯,鮑勃·弗雷澤,埃里克·李塞德,皮特·紐,布魯斯·布萊恩,格雷姆·達菲飆風戰警
威爾·史密斯,凱文·克萊恩,肯尼思·布拉納,薩爾瑪·海耶克,M·埃梅特·沃爾什,泰德·拉文,弗雷德里克·范·德·瓦爾,穆賽塔·萬德,Sofia Eng,白靈,嘉絲莉·畢薇斯,Mike H. McGaughy,羅德尼·格蘭特,巴克·泰勒,Dean Rader-Duval ,克里斯蒂安·奧伯特,Orestes Matacena,伊安·艾伯克龍比,伊斯梅爾·伊斯特·卡爾羅,鮑勃·洪諾,Kris Andersson,菲爾霍恩,斯科特·希斯洛普,貝尼·利威,德里克·梅耶斯,Tiger Mendez,Ty O&人氣佳作
提線木偶
李忠秀,具智成,韓素英驅魔2024
羅素·克勞,芮安·辛普金斯,薩姆·沃辛頓,克洛伊·貝利,亞當·戈德堡,亞德里安·帕斯達,戴維·海德·皮爾斯,特雷西·邦納,瑪塞奈·麗奈特,約書亞·約翰·米勒,哈莉·塞繆爾斯,漢娜·布萊克,薩曼莎·瑪西絲,杰登·方丹,扎克·帕德羅,查德·邁克爾·貝爾德,德魯·布羅德里克南部僵尸來襲
Megan Few,Jeremy Sande,Michael Joiner不倫之戀
帕特里克·迪瓦爾,阿里爾·貝西,莫里斯·羅內,杰納維夫·馬尼奇,莫里斯里什,瑪莎·梅赫勒,羅絲·蒂埃里,Michel Berto,亨利-雅克·于埃,雅克·里斯帕爾,納塔莉·貝伊,妮可·加西亞,Alan Adair,莫里斯·比羅,皮埃爾·科索,伊維斯·皮尼奧,Joseph Michael Roth,Max Vialle導演精選
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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.
飛越瘋人院
麥克墨菲(杰克·尼科爾森 Jack Nicholson 飾)為了逃避監獄里的強制勞動,裝作精神異常,被送進了精神病院,他的到來,給死氣沉沉的精神病院帶來了劇烈的沖擊。 麥克要求看棒球比賽的電視轉播,挑戰了醫院嚴格的管理制度,受到護士長拉契特(路易絲·弗萊徹 Louise Fletcher 飾)的百般阻撓;麥克帶領病人出海捕魚,振奮了他們的精神,卻讓院方頭痛不已。院方為了懲處麥克膽大妄為、屢犯院規,決定將他永遠留在瘋人院。生性自由的麥克再也無法忍受瘋人院的生活,他聯合病友,高大的印第安人“酋長”,開始自己的計劃:飛越瘋人院。 本片獲1975年第48屆奧斯卡最佳影片,最佳男、女主角,最佳導演和最佳改編劇本五項大獎。主人公“不自由,毋寧死”的精神在當今社會仍有很大的現實意義。
毛骨悚然撞鬼經 2006夏季特別篇
《在斷崖下》:青年蒲岡大輝(伊藤淳史 飾)將車停在懸崖旁和女友幽會,突然一股神秘的力量將汽車推向懸崖;《6號房間》:女高中生久保有紗(堀北真希 飾)和長澤美奈子等朋友去唱卡拉OK,自從她們使用過詭異的6號房間后,美奈子就變得分外怪異;《不可思議的時間》:為了趕上即將進行的世界杯比賽轉播,小職員白石大吾(平岡祐太 飾)匆匆搭上一輛計程車,卻在很短的時間內經歷了一段漫長的旅程;《四疊半的貴婦人》:森三中的大島美幸買到一只精致的茶杯,隨茶杯一同來到她家的還有一個身穿洋裝的貴婦人;《體驗者》:市場調研人員今泉誠一(高島政伸 飾)在某超市調查期間,發現店員似乎正被某個看不見的女人所侵擾;《病棟的絨毛玩具》:某所醫院有一只泰迪熊毛絨玩具,所有把玩它的老人都回去世。