現(xiàn)代豪放女

6.0 播放：23萬 更新：2026-04-27
主演：Rebecca De Mornay 

1988年暫無內(nèi)容美國(guó)翻拍版

播放通道

詳細(xì)簡(jiǎn)介

1988年暫無內(nèi)容美國(guó)翻拍版

同類推薦

杰姆·耶爾馬茲：招牌笑料2024

杰姆·耶爾馬茲

　　在這部充滿活力的特輯中，土耳其重量級(jí)喜劇演員杰姆·耶爾馬茲登上單口喜劇舞臺(tái)，調(diào)侃了“取消”文化和令人后悔的紋身等話題

舉起手來2：追擊阿多丸號(hào)

潘長(zhǎng)江,郭達(dá),劉小微

　　1945年，第二次世界大戰(zhàn)接近尾聲，軸心國(guó)已成強(qiáng)弩之末，敗局已定。許多戰(zhàn)爭(zhēng)中被俘虜?shù)娜毡臼勘?jīng)過改造后，陸續(xù)踏上回國(guó)的旅途，這其中便包括羅圈腿中村下等兵（潘長(zhǎng)江 飾）。然而，即使在這垂死關(guān)頭，帝國(guó)主義的貪婪仍舊沒有收斂。輪椅太君（胡曉光 飾）傷愈出院，親自負(fù)責(zé)指揮戰(zhàn)艦阿多丸運(yùn)送傷兵回國(guó)的重任，但是阿多丸還有一個(gè)秘密任務(wù)，那就是將從中國(guó)劫掠來的文物偷運(yùn)出境。這個(gè)秘密被小劉（劉小微 飾）的父親——一個(gè)文物老專家所得知，他掌握著所有文物的清單，也因此遭到日寇的追殺。臨死之際，老教授將藏有清單的可樂瓶交給擔(dān)任聯(lián)絡(luò)員的郭大叔（郭達(dá) 飾）。偵知到日本人的陰謀，八路軍以及重慶方面的勢(shì)力都行動(dòng)起來。　　而在這一過程中，更大的陰謀也悄悄浮出水面……

鬼悚歷險(xiǎn)3D

阿瑪雅·薩拉曼卡,馬克西·伊格萊西亞斯,Lucho Fernandez

　　心理學(xué)專業(yè)學(xué)生安吉拉（Amaia Salamanca 飾）分外擔(dān)心她的期末學(xué)分，在教授的建議下，這個(gè)一向不相信超自然的女孩決定去探訪一座早已廢棄的礦區(qū)小鎮(zhèn)Susurro，那里曾經(jīng)有一個(gè)嗜血如命的馬特加醫(yī)生，傳說他的惡靈至今還在小鎮(zhèn)上游蕩，殘害偶然闖入的人們。為了證明馬特加醫(yī)生的傳說子虛烏有，也為了順利通過考試，安吉拉和她具有較強(qiáng)第六感的妹妹戴安娜（Alba Ribas 飾）以及同學(xué)喬西（Maxi Iglesias 飾）、托尼（óscar Sinela 飾）、貝蘭（úrsula Corberó 飾）、卡羅斯（Lucho Fernández 飾）驅(qū)車前往那個(gè)荒涼陰森的邊遠(yuǎn)小鎮(zhèn)。　　借助精密儀器和戴安娜的配合，他們似乎真的將馬特加醫(yī)生喚回了人間，而死神也一步步向他們靠近……

科洛弗悖論

古古·姆巴塔-勞,大衛(wèi)·奧伊羅,丹尼爾·布魯赫,約翰·奧提茲,克里斯·奧多德,阿卡塞爾·亨涅,章子怡,伊麗莎白·德比茨基,羅杰·戴維斯,唐納爾·羅格,蘇珊·克萊爾,肯·奧林,西蒙·佩吉,格雷戈·格倫伯格

　　未來，人們對(duì)資源的需求越來越大，可是地球上的資源已經(jīng)不能再滿足人類。于是地球上爆發(fā)了資源危機(jī)，并險(xiǎn)些引發(fā)戰(zhàn)爭(zhēng)。唯一能阻止戰(zhàn)爭(zhēng)的只有空間站上的粒子加速器，如果實(shí)驗(yàn)成功，粒子加速器成功運(yùn)轉(zhuǎn)，那么它就能讓人們用上源源不斷的資源。可是在一次粒子加速器意外事件后，地球整個(gè)消失了，空間站上的宇航員開始試圖弄清楚在他們身上發(fā)生了什么。但隨著事情的一點(diǎn)點(diǎn)深入，真相慢慢浮現(xiàn)，更奇怪的事情也隨之出現(xiàn)。

等待方舟

耶日·斯圖爾,克里斯提娜·楊達(dá),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(yáng)·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.