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杰米·福克斯,約瑟夫·高登-萊維特,多米尼克·菲什巴克,羅德里戈·桑托羅,考特尼·萬斯,艾米·蘭德克,機關槍凱利,泰特·弗萊徹,阿倫·馬爾多納多,安德烈·沃德·哈蒙德,可亞娜·西蒙妮·辛普森,C.J.勒布朗,CG劉易斯,約瑟夫·波利昆,雅茨·德·利瑟爾,凱西·奈斯泰德,珍妮特·羅斯·阮,吉姆·克洛克,喬恩·阿茲,戴恩·羅茲,懷爾德·韋恩,賈斯汀·賈木什,戈登·德克海默,盧克·霍克斯,小彼得·詹梅斯,托尼·查普曼·斯蒂爾,約書亞·薩達索滅絕2015
馬修·福克斯,杰弗里·多諾萬,奎恩·麥克科甘,Valeria Vereau,克拉拉·拉戈,Eduardo Fedriani,Matt Devere,Alex Hafner,Jeremy Wheeler,Katharine Bubbear,麗麗·博爾丹,胡里奧·佩里蘭,Orsolya Bene,Adam Zambryzcki,nm5099682 Daniel Bargue?o玉蝎子的魔咒
John Tormey,伍迪·艾倫,海倫·亨特,查理茲·塞隆,丹·艾克羅伊德,伊麗莎白·伯克利基卡2025
瑪儂·克拉維爾,Makita Samba,托馬斯·庫芒,Suzanne Elbaz,Ethelle Gonzalez Lardued,伯納德·布蘭卡恩,Kadija Leclere,安納爾·斯諾克,Thierry Hellin,埃洛迪·巴特爾斯殺戮南瓜怪
佩頓·伊麗莎白·李,柯瑞·福格爾瑪尼斯,懷亞特·林德納,卡拉·吉門內斯,Sasha Mason,喬納·利斯,DJ·考爾斯,Marc Sully Saint-Fleur白石州往事
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莎拉·斯努克,喬麗·卡特,馬克·韋伯,安娜·德拉·雷古拉,艾波·斯蒂文斯,布萊恩·哈利塞,拉麗莎·奧蕾尼克,大衛·安德魯,克里斯·埃里斯,Vaughn Wilson,弗蘭·本內特,Paul Garrett,芭芭拉·威特曼,Jason Davis,Lucius Baston平凡女人杰莎貝爾(莎拉·斯努克 Sarah Snook 飾)與男友普瑞斯頓(馬克·韋伯 Mark Webber 飾)即將迎來新的生命,當他們準備搬入新家之際,卻遭遇一場突如其來的車禍。這場災難讓當下兩個最重要的生命從杰莎貝爾的人生中消失,痛不欲生的她撥通了久未謀面的父親的電話,坐著輪椅回到了位于路易斯安那的老家。某天,杰莎偶然在床下找到一卷母親當年生她之前錄下的影像,畫面中媽媽期望女兒能在18歲那年看到錄影帶,而且用塔羅牌預測了杰莎未來的運勢。預言中有一個看不見的靈魂逡巡在杰莎的身旁,而對方卻滿懷惡意企圖將杰莎趕出房子。 在此之后,詭異的夢境和神秘事件接連向杰莎襲來,而她將遭遇最為恐怖的一段噩夢體驗……
凱歌香檳
娜塔莎·奧基弗,海莉·貝內特,湯姆·斯圖里奇,本·邁爾斯,里奧·蘇特,薩姆·賴利,保羅·瑞斯,卡拉·西摩,克里斯·拉金,安森·布恩,伊恩·克寧漢,塞西莉·克利夫,Joseph Rapp,David Emmanuel該片基于Tilar J. Mazzeo所著小說《The Widow Clicquot: The Story of a Champagne Empire and the Woman Who Ruled It》,講述19世紀法國凱歌酒莊早年的堅韌發家歷程,將這個標志性橙色品牌背后的迷人年輕女子形象栩栩如生地展現出來。 凱歌香檳1772年由商人菲利普·克里科創立,其子弗朗索瓦·克里科與商業大亨尼古拉斯·龐薩丁的女兒芭比·妮可·龐薩丁結婚后,夫妻倆逐漸接手酒廠,一同發展香檳事業。七年后,弗朗索瓦在30歲時因傷寒突然去世,震驚的菲利普打算清算公司,27歲的芭比決定接管丈夫的生意,成為19世紀初期在男性主導的世界中經營國際企業的首批商業女性之一。在當時的法國,寡婦是唯一不需要經過丈夫或父親的同意進行工作、讀書的女性。 因為戰爭,酒業一度搖搖欲墜,公司面臨破產,芭比通過將香檳出口到俄羅斯力挽狂瀾,拿破侖戰爭期間,凱歌香檳在整個歐洲的皇室宮廷取得了大幅進展,將其確立為整個歐洲上流社會和貴族青睞的飲品方面發揮了重要作用。
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池承炫,李世美,姜其永,楊明憲,英健,方秀衡,姜多賢,宋東煥,元賢俊,???,趙潤鎬擁有一切的男子都俊,妻子和小孩都在國外生活,也因此他的疑心病變得更重了。某日他一個人喝完酒徘徊時,遇到了一位謎樣的女子世蓮,陷入她的魅力之中的都俊也因此卷入了某起事件……
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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.
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