他人妻

5.6 播放:81萬(wàn) 2026-04-23

邁耶-是知名的兒童文學(xué)作家,工作使其與婦女接觸非常成功。他的哲學(xué)是"嘗試并退出"。它特別興奮,這些婦女-外國(guó)妻子。突然他愛(ài)上美麗羅珊與準(zhǔn)備在他的生活中打開(kāi)新的一頁(yè)。但也有兩位年輕美女作為他們埃迪及其類型 ︰ 把那個(gè)家伙在你整個(gè)的處置。對(duì)他來(lái)說(shuō),它成為一個(gè)真正的惡夢(mèng)"。歡迎來(lái)到色情噩夢(mèng)從花花公子。   

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校園鬼談

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  每個(gè)學(xué)校都有很多故事,從新生入學(xué)到畢業(yè),一屆又過(guò)了一屆,然而那些建筑和房屋仍然留在原地,有些人帶著難忘的回憶離開(kāi),而那些回憶可能永遠(yuǎn)也不能忘記……

星河戰(zhàn)隊(duì)2:聯(lián)邦英雄

比利·布朗,理查德·布基,凱莉·卡爾森,何家蓓,埃德·勞特爾,J·P·馬諾克斯,勞倫斯·莫努森,柯琳·波奇,德魯·鮑威爾,愛(ài)德·奎恩,杰森-沙恩·斯科特,布蘭達(dá)·斯特朗,布萊恩·泰,斯蒂芬·斯坦頓,喬恩·戴維森,Jesse Grce,Oliver Keller,喬納森·帕索,Ty Williams

  在蟲族突襲布宜諾斯艾利斯之后,聯(lián)邦軍隊(duì)發(fā)動(dòng)反攻,在坦戈約里擊潰蟲族,并在P行星虜獲蟲族首領(lǐng)。在此之后,聯(lián)邦軍隊(duì)乘勝追擊,派大軍殺向蟲族隔離區(qū)。殘酷的戰(zhàn)斗沒(méi)有止境,機(jī)動(dòng)部隊(duì)第6戰(zhàn)隊(duì)遭到蟲族圍攻,苦盼救援部隊(duì)不得,眼看滅亡在即。關(guān)鍵時(shí)刻,第6戰(zhàn)隊(duì)首領(lǐng)夏普德將軍(埃德·勞特 Ed Lauter 飾)與幾名士兵吸引蟲族,命令霍頓(Jason-Shane Scott 飾)、珊蒂余下的戰(zhàn)士前往最近的祖魯角哨站避難。此前,該哨站已經(jīng)廢止,所有人員全部死亡,只有一名中尉幸存。在這個(gè)隔絕之地,戰(zhàn)士們進(jìn)行最后的抵抗……  本片為《星河艦隊(duì)》的第一部續(xù)集,拍攝完畢后直接發(fā)行DVD。

比爾和泰德暢游鬼門關(guān)

基努·里維斯,亞歷克斯·溫特,威廉姆·賽德勒,喬斯·雅克蘭德,帕姆·格里爾,喬治·卡林

  熱愛(ài)搖滾樂(lè),一心想贏得大賽的阿比阿弟不小心被另一對(duì)長(zhǎng)得一模一樣的阿比阿弟機(jī)器推冥界。在他們大鬧陰曹地府、暢游天堂之后還拖著死神回到陽(yáng)世,拯救女友的性命···節(jié)奏強(qiáng)烈的熱門歌曲、地獄游歷的驚險(xiǎn)怪譚,還有一對(duì)胡搞蠻纏的活寶兄弟,就已經(jīng)使「阿」片夠新鮮熱鬧了,再加上導(dǎo)演創(chuàng)新的拍攝手法,許多趣味的橋段串連,使本片不論在視覺(jué)效果、技術(shù)處理上皆比上集精進(jìn),娛樂(lè)效果更有過(guò)之而無(wú)不及。

透明人出現(xiàn)了

喜多川千鶴,水の江滝子

  中里博士は人間を透明にする薬品を密かに完成させるが、秘密をかぎつけた謎の男が薬を奪い透明人間になって、希代の寶石“アムールの涙”を強(qiáng)奪しようとする。円谷英二が大映京都撮影所で、「虹男」に続いて特撮を擔(dān)當(dāng)した話題作である。

等待方舟

耶日·斯圖爾,克里斯提娜·楊達(dá),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(yáng)·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.

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