小姨子上癮

　　保護地球、維護和平，奧特曼對于地球人來說曾經(jīng)是神一樣的存在，但是近幾十年，他卻消失不見行蹤成謎……隨之取替他的是鋼鐵飛龍精銳小分隊——隸屬于GSB地球安全保衛(wèi)組織。而GSB近期不斷收到地球能源異常報告，全球各地紛紛出現(xiàn)巨大災(zāi)難。GSB組織派出鋼鐵飛龍，查明能源異常原因，卻意外發(fā)現(xiàn)事件與奧特曼有關(guān)系……新舊兩代地球守護者的意外相見，卻成為你死我活的敵對雙方。到底，這是一場意外還是一場陰謀，是誰看到了最后的事實真相？

　　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.

飛虎門鄭坤奉命押送賑災(zāi)糧，他押送回來的賑災(zāi)糧全是沙石，鄭坤鋃鐺入獄，幾經(jīng)周折，鄭坤查出調(diào)換賑災(zāi)糧的罪魁禍首，鄭坤與州府捕快左綾聯(lián)手將貪污賑災(zāi)糧的人一干人等繩之以法，將他們一網(wǎng)打盡

 少年田勁的父母早年為了將西醫(yī)帶入藏地做出了無數(shù)的犧牲，由于無法適應(yīng)高原的生活，田勁的媽媽帶著尚在襁褓中的兒子返回內(nèi)地，爸爸拉格巴則在高原繼續(xù)著他的事業(yè)。數(shù)年過后，媽媽病故，無依無靠的田勁來到高原尋找爸爸，然而心中卻藏著無數(shù)的怨恨。拉格巴終日忙碌行醫(yī)，任憑兒子自行學習牧羊。某天，田勁遭到狗熊的威脅，幸虧一只金色的藏獒相助，后來更因種種機緣讓他與這只名叫多吉的藏獒成為最親密的朋友。與此同時，草原上出現(xiàn)了專門殘害生靈的惡魔，牧民的平靜生活被徹底打破……本片根據(jù)楊志軍的小說《藏獒》改編，由中日兩國聯(lián)合制作，日本著名漫畫家浦澤直樹還擔任了人設(shè)和導演的工作。