即刻觀影
劇情賞析
編輯推薦
雙山阻擊戰
洪衛,劉冠霖,葛佳佳,郭廣平,周惠林回望歷史所帶來的震撼，它讓我們牢記：中華兒女只要萬眾一心，就能抵御一切來犯之敵，就能實現屹立于世界民族之林的中國夢。
馬路天使
珍妮·蓋諾,查爾斯·法萊爾,娜塔莉·金斯頓,亨利·阿爾梅塔,圭多·特倫托,阿爾貝托·拉巴利亞蒂,路易斯·利格特,彌爾頓·迪克森安吉拉（珍妮·蓋諾 Janet Gaynor 飾）的母親身患重病，急需藥物進行治療。生活在窮困潦倒之中的安吉拉無奈之下只能行竊救命，她的舉動自然遭到了警方的通緝和追捕，安吉拉就此踏上了逃亡的旅途?！ ⊥局?，安吉拉來到了一個馬戲團之中，隱姓埋名成為了其中的一名演員，這正好幫助她拜托了警方的糾纏。在馬戲團中，安吉拉邂逅了名為基諾（查爾斯·法萊爾 Charles Farrell 飾）的年輕畫家?；Z雖然有著一身的才華卻依舊只是一個名不見經傳的無名畫家，安吉拉的出現激發了他的靈感，幫助他取得了事業上的成就，墜入愛河的兩人決定結婚，但在婚禮舉行之際，警方還是發現了安吉拉的蹤跡。
太空運輸
馬丁·拉波德,Michael Finger,Claude-Oliver Rudolph23世紀中葉，地球已進入全面崩潰的階段，戰爭和傳染病讓這顆原本美麗的藍色星球破爛不堪，人類被迫離開賴以生存的家園，遠赴外太空尋找新的棲息地。憑借TSA先進的技術，木衛五成為充滿希望的新興樂土。在此之后，大批地球人乘坐飛船前往木衛五，地球逐漸被人遺忘?！ ∪欢驮诖藭r，不斷有人起來反抗，聲稱要推翻TSA利用機器對人類的麻醉和統治，并據此不斷向空間站發起恐怖襲擊。美麗的勞拉·波特曼博士（Anna-Katharina Schwabroh 飾）隨一艘貨船前去空間站看望親人。在長達4個月的旅途中，大部分人需進入睡眠狀態。勞拉擔任了值班的任務，然而在這靜寂的飛船里，似乎有其他人在暗中窺視著她。一樁樁陰謀漸漸浮出水面……
丹下左膳：大岡越前外傳
森山未來,黑木華,每熊克哉,福士誠治,加藤諒,平祐奈,宇梶剛士,相島一之,榎木孝明,橫內正,田邊誠一,田村亮,高橋克典平侍出身、獨眼的劍豪丹下左馬之介（森山未來 飾），奉相馬家當主大膳亮（每熊克哉 飾）之命，前往江戶小野冢道場奪取傳說中的一對妖刀“乾云丸”與“坤龍丸”。他以忠義為念拼死挑戰，卻在激斗中失去了右臂。幸得通緝犯阿藤（黑木華 飾）與與吉（加藤諒 飾）相救，奇跡般地存活下來，化名“丹下左膳”重生。此后，圍繞妖刀的陰謀不斷擴大，敵人接踵而至，連町奉行大岡忠相（高橋克典 飾）也卷入其中——一場關乎忠義與命運的江戶風云由此展開。
非禮勿視
Glen Jacobs,克雷格·霍納,Michael J. Pagan八個感化院的青年在兩名警官的監督下，前往鄉間一所破敗的客棧中接受社區服務，但是他們的到來卻無意中驚醒一個沉寂已久的惡魔。雅克布?古德奈特 飾（Glen Jacobs 格蘭“凱恩”雅克布 飾），身高七英尺，體重四百磅，頭骨里嵌著一個生銹的鐵盤，鋒利的指甲足夠戳穿對手眼睛的精神病患者?！ ⊙趴瞬妓哪昵霸痪俑ヌm克?威廉姆斯（Steven Vidler 飾）槍擊頭部，卻僥幸逃生。如今弗蘭克正是這群青年的督導員。弗蘭克和孩子們的出現激起了雅克布屠殺的欲望，他舉起巨斧，將客棧變作血腥的屠宰場……
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.