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黑崎煌代,遠藤憲一,井川遙,木龍麻生,菊池亞希子,中山慎吾,吉岡睦雄,蘇鈺淳,服部樹咲,石田莉子,荒生凜太郎,中村蒼特雷弗·諾亞:苦中作樂
特雷弗·諾亞紐倫堡
羅素·克勞,拉米·馬雷克,利奧·伍德爾,邁克爾·珊農,理查德·E·格蘭特,科林·漢克斯,約翰·斯拉特里,瑞安·施密特,洛特·弗貝克,馬克·奧布萊恩,安德烈亞斯·皮特斯柯曼,史蒂文·佩西,莉迪亞·佩克漢,丹·凱德,羅德里克·希爾,保羅·安東尼·巴伯,唐納德·薩基·馬凱,沃爾夫岡·塞爾尼,杰瑞米·惠勒,菲利普·雅克致命錄像帶94
安娜·霍普金斯,Sean Patrick Dolan,德魯·維爾戈維爾,達克斯·拉維納再見六月
凱特·溫斯萊特,托妮·科萊特,海倫·米倫,安德麗婭·賴斯伯勒,蒂莫西·斯波,約翰尼·弗林,斯戴芬·莫昌特,杰里米·斯威夫特,拉扎·杰夫里,詹姆斯·德萊頓,費塞友·阿金那德,李丹,Flora Jacoby Richardson,米歇爾·帕克,Nancy Hannan,James Trevelyan Buckle,Elias Whittaker,Benjamin Shortland,Billie Wren-Grace Butler,Nellie Rae-Grace Butler無懼神明
莉頓·梅斯特,托比·瓊斯,本·巴恩斯,哈威·凱特爾,肯尼·沃莫爾德 ,里特奇·科斯特,保羅·本-維克托,Slaine,William Xifaras,Jay Giannone,Julie Ann Dawson,Stacey Queripel,Billy 'V' Vigeant,Armen Garo,Michael Yebba同類推薦
猩球崛起
安迪·瑟金斯,詹姆斯·弗蘭科,芙蕾達·平托,約翰·利思戈,布萊恩·考克斯,湯姆·費爾頓,泰勒·萊伯恩,卡琳·考諾娃,泰瑞·諾塔里,理查德·賴丁斯,克里斯托弗·戈登,德文·達爾頓,杰·卡普托,大衛·奧伊羅,杰米·哈里斯為了能讓身患老年癡呆癥的父親重回正常的生活,威爾·羅曼(詹姆斯·弗蘭科 James Franco 飾)一直致力于名為“Cure”的基因藥物的開發,并在大猩猩身上不斷進行著藥物試驗。在公司已經失去信心的同時,威爾繼續在家完成試驗,并在一只名為凱撒的大猩猩身上獲得成功。借助靈長類學家卡洛琳(芙蕾達·平托 Freida Pinto 飾)的幫助,威爾發現凱撒的智力極大地提高。不過,人類的社會始終無法接受擁有極高智力的凱撒,凱撒被送往了猩猩看護所。看護所的殘酷對待,使得凱撒利用智慧進行抗爭,最終救走了同時被囚禁的其他猩猩,而且對它們都使用了Cure。一群高智商的猩猩與人類對立的戰爭就此拉開。本片獲得了第84屆奧斯卡最佳視覺效果的提名。
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.
春生回家
日軍侵華,陳春生目睹父親慘死刀下,執念驅使他不顧母親哀求,深夜偷跑參軍,立誓抗日救國,再回家鄉。他在戰場浴血成長,終見山河光復,然而內戰打響,拖慢了他回鄉的腳步。陳春生拒絕向同胞舉槍,淪為逃兵被關押,1949年被強行運往臺灣。在臺數十年,他漂泊無依,雖遇良伴組建新家,卻始終被思鄉之苦煎熬。兩岸三通后,他竟得知母親仍在等他,八十三歲的他飛奔回鄉,與百歲母親相認,這份遲到71年的承諾,終在生命盡頭圓滿。
特雷弗·諾亞:苦中作樂
特雷弗·諾亞從社交媒體差評到治療師的真相炸彈, 特雷弗·諾亞在這場搞笑、犀利又輕快的單口喜劇演出中將混亂變為喜劇。
商戰街
Saif Ali Khan,Radhika Apte,Chitrangda Singh這是一部關于股票交易的影片,處處流露著金錢和欲望,一個草根鳳凰男逆襲的故事。男主出生并成長在印度的一個小山村里。男主一心夢想前往孟買,去為自己的偶像(一位金融大鱷)去打工。金融大鱷亦是貧寒出身但卻成功逆襲的典范。男一號發誓要成為像該金融大鱷一樣的成功男士。男一號憑借自己 的努力和對機遇的掌控,在一年時間內,成為該金融大鱷最得力的助手。一時間,賓利,私人飛機,游艇都已是囊中之物;順便,男一號再抱得美人歸。然而,一切的成功都來的太突然。男一號殊不知自己只不過是金融大鱷的傀儡。而漂亮的女友也只不過是金融大鱷的情婦而已。擺在男一號面前有兩條路。是接受金融大鱷所給的上億支票繼續為奴,還是推倒金融大鱷,自己徹底翻身?