即刻观影
剧情赏析
编辑推荐
爱定你杀定你
塞西尔·德·弗朗斯,麦温,菲利普·纳翁,弗兰克·卡方,安德烈·芬蒂,瓦娜·佩利亚,Marco Claudiu Pascu,Jean-Claude de Goros,Bogdan Uritescu,加布里埃尔·斯巴修青春少女玛丽（Cécile De France 饰）和爱莉西娅（Maïwenn Le Besco 饰）是同在法国巴黎一所大学就读的好朋友。某个周末，两人驱车前往爱莉西娅家位于乡下的农场度假。适值深夜，万籁俱寂，玛丽寂寞难耐正在自我宣泄之时，一个不速之客突然闯入。他残忍杀害了爱莉西娅的父母和年幼的弟弟，并将其掳去。为了营救好友，玛丽悄悄钻进凶手的卡车。途经一个加油站，她换上同样惨遭杀害的店员的车继续跟踪，却被狡猾的凶手发现行迹。一场近乎迷幻的猫鼠杀戮游戏旋即进入高潮…… 本片荣获2003年Sitges – Catalonian国际电影节最佳女主角（Cécile De France）、最佳导演、最佳化装和欧洲奇幻电影大奖银奖。
春之祭
Anessa Ramsey,Shanna Forrestall,AJ Bowen夜深人静之时，年轻女子瑞切尔（Anessa Ramsey 饰）和艾莉莎（Hannah Bryan 饰）突然遭到神秘之人的袭击和绑架。当她们清醒过来后，发现自己正被绑在一座谷仓中，戴着面具的恐怖男子为她们举行邪气逼人的仪式。另一方面，受债务困扰的男人本（AJ Bowen 饰）联合女友艾米（卡瑟琳·兰道夫 Katherine Randolph 饰）、弟弟汤米（安德鲁·布瑞兰 Andrew Breland 饰）以及陌生男人保罗（Sonny Marinelli 饰）策划绑架了富有商人瑞恩·海登（詹姆斯·巴兹 James Bartz 饰）的女儿，并索取高达两百万美元的赎金。 正当本和保罗众人为了赎金起整治的时候，死里逃生的瑞切尔突然出现，随之而来的还有残忍的春之祭杀人魔……
巨兽格果
比尔·特拉弗斯,威廉姆·西尔维斯特,文森特·温特,Christopher Rhodes,约瑟夫·奥康纳,布鲁斯·西顿,马丁·本森,莫里斯·考夫曼,瓦西里·迪格纳穆50年代，美国拍了《原子怪兽》，日本拍了《哥斯拉》，50年代末期英国又趁热打铁拍了《海底巨兽》。1961年又和米高梅合拍了《巨兽格果》。 《巨兽格果》不像其他怪兽电影那样，怪兽开头都是神龙见首不见尾，最后城市大战时露个全身。本片中怪兽破坏的镜头完完全全的展现在观众面前，拆了伦敦塔桥，还推到了大本钟。最后全凭两双大脚一路踩爆房屋，砖瓦四溅，相当过瘾。本片讲述了人类抓到了一只可爱的小怪兽——格果，然后把它关进马戏团里，哪知道后来把怪兽老娘惹来了…
等待方舟
耶日·斯图尔,克里斯提娜·杨达,卡里娜·谢鲁斯克,马里乌什·德莫霍夫斯基,马雷克·瓦尔切夫斯基,扬·诺维茨基,亨里克·比斯塔,莱昂·涅姆奇克,克兹佐夫·马扎克,斯坦尼斯瓦夫·伊加尔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.
新的景色
黑崎煌代,远藤宪一,井川遥,木龙麻生,菊池亚希子,中山慎吾,吉冈睦雄,苏钰淳,服部树咲,石田莉子,荒生凛太郎,中村苍高野任职园境建筑师，规划涩谷宫下公园重建；露宿者被驱赶，让路予结合户外休憩与购物商场的新地标。为了工作牺牲家庭，大刀阔斧改造都市面貌，自己却家破人亡了。十年后，一盆蝴蝶兰令父子重遇，女儿已不再在乎长期缺席的父亲。重回故地，亲子关系能否重建？团冢唯我首部长片，善用建筑空间显现家庭创伤，静谧中蕴藏情感波动，再以破碎灯泡让记忆回魂。被离弃的世代游走于冷漠城市，重新审视家人之间的距离之余，亦察看一座城市于急速变形下残留的空洞。
黑暗之家
Arkadiusz Jakubik,Marian Dziedziel,Kinga Preis,Bartlomiej Topa,Katarzyna Cynke,Robert Wabich,Robert Wieckiewicz,Krzysztof Czeczot,Eryk Lubos,Lech Dyblik,Marcin Juchniewicz,Bartosz3e Zukowski,Grzegorz Wojdon,Slawomir Orzechowski,Anna Grzeszczak1978年的某个寒冷秋夜，迷路的希罗顿走进了一个偏僻的农场。农场主夫妇热情地招待了这位不速之客，宾主一起喝酒聊天，谈得十分投机。不料人心的贪欲引发了血的悲剧…… 四年后的冬天，姆尔兹警官负责调查这起凶杀案，他和重要证人希罗顿一起前往现场检证。敷衍了事的调查、嫌疑人的回想……在一片混沌之中，惊人的真相渐渐浮现而出……