即刻觀影
劇情賞析
編輯推薦
麻雀女王追男仔
高海寧,馬國明,陳家樂,陳靜,邱意濃,許紹雄,郭珮文,李尚正,麥玲玲,林盛斌,戴耀明,程可為,蔡潔,林襄,文佐匡龍家村村長龍卷峰（許紹雄飾）育有三女一子，分別名叫龍小東（高海寧飾）龍小南（陳靜飾）龍小茜（郭佩文飾）和龍小北（文佐匡飾） 大家姐小東是連續五年晉身最佳業績的百萬元桌級經理。外表事業女王的小東卻是一個「天生麻將狂」，更偏偏戀上科學家男友馬壯（馬國明飾）馬壯對小東情深一往，只是他一世人最憎人打麻雀，為了不讓愛郎失望，小東竭力隱瞞自己是麻雀狂的真相 二妹小南攻讀戲劇，畢業後當不了演員，卻在片場擔任「親密指導員」，遇上了躁狂影帝千紅哥（陳家樂飾），二人對戲劇追求南轅北轍，但兩個火星撞地球的人偏偏在相處過程由歡喜冤家變成擦出愛火花。 三妹小茜一天竟被小北老闆，胸圍廠太子爺林雨雲（李尚正鉓）落力追求，以為大團圓結局之際誰知真相峰廻路轉，小茜和雨雲相愛背後，其實也暗藏一個驚天秘密。 三對男女，情場上各有各精彩，如何收科？
赤紅生死線
尼塔莎·吉拉尤吉恩,艾絲特·蘇普莉拉,Chutima Maholakul,托德薩蓬·邁蘇克,奔弘·奔提維此弓,寶哇麗·彭琵莫,阿卡那·凌米查,戴德·納塔南·昆瓦特三名女子淪為冷血電話詐騙的受害者。為了討回公道，他們決定對抗奪走他們金錢與尊嚴的犯罪網絡。
地下角斗士
戴拉·紹,黎唯,黎明Duke and Yan, two long time rivals, are competing in the world’s most dangerous underground fighting tournament, where powerful crimelords can gamble and influence who they fight, the terrain they fight on and what weapons will be used. In this high-stakes bloodsport where one wrong move can mean certain death, they must decide whether to play by the rules or to cast their honor aside and team up against the dark syndicate running the tournament and bring the entire system down.
旁觀者2025
陳坤,王硯輝,劉敏濤,容中爾甲,安澤豪,陳依莎,單禹豪,王勁松,陸玲,王雯那,姜穎函離家十六年的陳家輝（陳坤 飾）在得知父親陳為民（王勁松 飾）病危后，重返故鄉。但父親未留下只言片語便匆匆離世。葬禮之后，陳家輝與哥哥陳家興（王硯輝 飾）、姐姐陳家媛（劉敏濤 飾）在整理父親遺物時，逐漸察覺父親身上似乎隱藏著許多不為人知的秘密。帶著困惑與心結，陳家輝開始探尋父親生前的生活軌跡，試圖拼湊出父親真實的模樣。在這個過程中，一段埋藏了16年的家庭秘密逐漸被揭開，而這個秘密的核心，正是家輝與父親之間一生都未能解開的那個結。
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.
舉起手來2：追擊阿多丸號
潘長江,郭達,劉小微1945年，第二次世界大戰接近尾聲，軸心國已成強弩之末，敗局已定。許多戰爭中被俘虜的日本士兵經過改造后，陸續踏上回國的旅途，這其中便包括羅圈腿中村下等兵（潘長江 飾）。然而，即使在這垂死關頭，帝國主義的貪婪仍舊沒有收斂。輪椅太君（胡曉光 飾）傷愈出院，親自負責指揮戰艦阿多丸運送傷兵回國的重任，但是阿多丸還有一個秘密任務，那就是將從中國劫掠來的文物偷運出境。這個秘密被小劉（劉小微 飾）的父親——一個文物老專家所得知，他掌握著所有文物的清單，也因此遭到日寇的追殺。臨死之際，老教授將藏有清單的可樂瓶交給擔任聯絡員的郭大叔（郭達 飾）。偵知到日本人的陰謀，八路軍以及重慶方面的勢力都行動起來。 而在這一過程中，更大的陰謀也悄悄浮出水面……