新素女艷譚
現代白蛇艷譚：新素女艷譚電影，白蛇白素貞（陳蓓琪）自被法海和尚（楊澤霖）收懾了壓在雷峰塔底已近千年，但終于都被白蛇逃走，來到這個現代的大都市找尋愛郎許仙（傅偉祈）和情如姊妹的丫環小青蛇小青（邱玉茹）。 法海和尚不甘被白蛇逃脫，也追蹤來到這個現代的都市，務求把白蛇捉回。 白素貞為逃避法海的追捕和施法迷惑，險些搭上了性命，幾經艱辛才找到了生活在現代都市而事業也有成就的小青和許仙相認，但二人經過了千年來的不斷轉世輪回，以前的一切均已忘掉了，而現代許仙的女友寶寶（徐寶鳳）和小青男友皆認為事有蹊蹺，便與小青姊妹（于芷蔚）找靈媒（邵音音）占卜計算白素貞的身份，果然一切屬實，眾皆高興重逢。法海出現擄走了小青姊妹要脅白蛇跟他回去接受懲罰，幸靈媒仗義替眾人解危，更說服了法海和尚移民香港，不必回去封建專制的舊社會去，讓情花結果，玉成這段一可歌可泣的隔世情。
即刻觀影
劇情賞析
編輯推薦
消失的證據
鄭媛元,王帥,高迦瀾妹妹石晗離奇“自殺”，疑點重重。姐姐石嵐毅然踏上追兇之路，她孤身對抗惡勢力，艱難收集證據，最終在絕境中完成復仇，將施暴者一一繩之以法。影片不僅是一場酣暢淋漓的罪案追兇，更深刻揭露了人性之暗與正義的重量。
養鬼吃人4
Charlotte Chatton時間轉眼到達2127年,修老道又從地獄中走了出來,這一次,他發覺自個兒在外宇宙的一艘飛船上,原來這是Merchant博士的一個規劃,他計劃將地獄之門永恒的閉合.Merchant博士的祖輩,一個18百年的七巧板制作商,就是魔方的制作者.固然幾個百年以往了,但Merchant一家始末為關閉地獄之門而盡力盡量.這一次,Merchant博士要在外宇宙將修老道徹底消泯……
同盜中人第二季
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罪生咒
與丈夫離婚后，Alice必須承擔起單親母親的全部責任，照顧她全心全意愛著的兒子August，一個好奇的小男孩。他從小就對A、他的父親和他自己的故事充滿疑問。就連他的母親也從未談起過他的父親，August15歲那年，神秘的故事開始一點一點地跟隨他。他父親生前的囑托成為August從諾拉舞的秘密中發現恐怖的原因。在試圖讓他認識到自己的業力同時，Alice相信理性和正義。Alice竭盡全力拯救她所愛的兒子。但她越是反抗并帶領August遠離現實，詭異和奇怪的事件不斷升級，直到August陷入危險。決定返回尋找過去的真相。August生命危在旦夕，當Lambam家的門打開時，里面的木樁從過去一直建到了現在，與她一起打開的是Lambam家的老管理員Cherd叔叔，他知道整個故事。業力和所欠的誓言已經開始要求償還
金剛的逆襲
寶田明,羅茲·利森,濱美枝,琳達·米勒,天本英世60年代的日本人似乎對這個大黑猩猩情有獨鐘，在玩遍了各種哥斯拉的故事之后，依然將金剛的神奇遭遇不停地向人們展示、炫耀。光看他的故事就能讓人嚇一跳：科學家制造出了一個機械金剛，用來在北極挖掘神秘的X元素，與此同時邪惡的博士綁架了真正的金剛，令其干同樣的活，因此，機械金剛與原形之間的連番惡斗就在所難免了。
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.