艳舞女郎 Showgirls
诺密(伊丽莎白·伯克利 Elizabeth Berkley 饰)是一名性感漂亮的女郎,年轻的她来到拉斯维加斯淘金,希望在这里能找到令她立足的工作。没想到,刚到此地,便被小混混骗走了行李,身无分文的她遇见了化妆师克里斯特(吉娜·格申 Gina Gershon 饰),两人一见如故结下了深厚的友谊。诺密发现,想在拉斯维加斯得到一个饭碗实在是太难了,热爱舞蹈的她最后决定加入当地最有名的艳舞团队。经过层层选拔,诺密得到了她的角色,而一旦开始涉入这个复杂的声色世界中,她沦陷的速度就再也不会停止。本来自尊自重的诺密,居然也开始为了向上发展而出卖自己的肉体。 诺密越来越有名,但她和克里斯特的距离也越来越远。为了弥补这段友情,诺密安排了克里斯特和她的偶像歌手见面,没想到看似偶像实则禽兽,克里斯特惨遭凌辱住进医院,也击碎了诺密关于名声和金钱的最后的幻觉。
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剧情简介
诺密(伊丽莎白·伯克利 Elizabeth Berkley 饰)是一名性感漂亮的女郎,年轻的她来到拉斯维加斯淘金,希望在这里能找到令她立足的工作。没想到,刚到此地,便被小混混骗走了行李,身无分文的她遇见了化妆师克里斯特(吉娜·格申 Gina Gershon 饰),两人一见如故结下了深厚的友谊。诺密发现,想在拉斯维加斯得到一个饭碗实在是太难了,热爱舞蹈的她最后决定加入当地最有名的艳舞团队。经过层层选拔,诺密得到了她的角色,而一旦开始涉入这个复杂的声色世界中,她沦陷的速度就再也不会停止。本来自尊自重的诺密,居然也开始为了向上发展而出卖自己的肉体。 诺密越来越有名,但她和克里斯特的距离也越来越远。为了弥补这段友情,诺密安排了克里斯特和她的偶像歌手见面,没想到看似偶像实则禽兽,克里斯特惨遭凌辱住进医院,也击碎了诺密关于名声和金钱的最后的幻觉。
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在一个平凡的美国小镇,同性恋男孩被人杀害,他的死却引起了广泛争议。自称代表上帝的牧师艾宾·库伯(麦克·帕克斯 Michael Parks 饰)带领信众游行示威,控诉着世间各种丑态与罪行。另一边,高中生特拉维斯(Michael Angarano 饰)、贾罗德(Kyle Gallner 饰)、比利-雷(Nicholas Braun 饰)却相约夜晚出行,寻找属于青春时代的放浪与刺激。谁知渴望狩猎的少年,反倒成了他人的猎物。他们落入库伯及其信众的陷阱,随时都会失去生命。 另一方面,美国枪支管理局的特工约瑟夫·吉南(约翰·古德曼 John Goodman 饰)逐渐掌握库伯囤积枪支的证据,一场无关正义与道德缺失的攻防战即将展开……
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An epic mosaic of lonely people with crossed destinies who will set their sights on Arthur Morhan, a psychoanalyst on the verge of a breakdown.
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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.