欲求難控
絕望的業務員勉強隊與一個美麗的蛇蝎美人，收大甩賣。熱的戀情后，她被謀殺和她的私人助理敲詐業務員為一個主要的金融騙局，他跌倒越陷越深到她的陷阱。
在線播放
劇情簡介
絕望的業務員勉強隊與一個美麗的蛇蝎美人，收大甩賣。熱的戀情后，她被謀殺和她的私人助理敲詐業務員為一個主要的金融騙局，他跌倒越陷越深到她的陷阱。
同類好片
青出于藍2025
索菲婭·莉莉絲,戴夫·巴蒂斯塔,鮑比·坎納瓦爾,凱特·德爾·卡斯蒂洛,杰克·尚皮永,托尼·達爾頓,布魯·德爾·巴里奧,印達·納瓦雷特,惠特尼·皮克,澤爾·亞當斯怒襲
安志杰,伍允龍,洪浚嘉,克拉雅,張建聲,何慈茵,王東,朱云兒,易宇航驅魔人：信徒
琳達·布萊爾,艾倫·伯斯汀,詹妮弗·內特爾斯,小萊斯利·奧多姆, 奧利維亞·馬庫姆,安·唐德,莉婭·朱厄特,拉法埃爾·沙巴拉格,諾爾貝特·里奧·布茨,本·布萊頓,克洛伊·特埃考絲,E·J·博尼拉,莉茲·約翰斯頓,丹尼·麥卡錫,安東尼·科隆,諾拉·墨菲,奧奎·奧克波克瓦西里,埃米莉·雷切爾·戈登,塞萊斯特·奧利瓦,特蕾西·格雷夫斯活著
葛優,鞏俐,姜武,牛犇,郭濤,張璐,倪大紅,肖聰,董飛,劉天池,董立范,黃宗洛,劉燕瑾,李連義,楊同順梅根失蹤
安伯·珀金斯,蕾切爾·奎恩,迪恩·維特,Jael Elizabeth Steinmeyer,王仲欣,Brittany Hingle,Carolina Sabate,Trigve Hagen,Rudy Galvan,艾普爾·斯圖瓦特,John K. Frazier,Tammy Klein,Lauren Leah Mitchell,Jon Simonelli,Craig Stoa,尼基·克里斯蒂,安德魯·道布勒相會在昨天
伊登·鄧肯-史密斯,亞斯特羅,瑪莎·斯蒂芬妮·布萊克,邁拉·盧克利希亞·泰勒,達馬里斯·劉易斯,弗蘭克·哈茨,布瑞特·G·史密斯,伊恩·安特曼,小巴靈頓·沃特斯,Dante Crichlow,Wavyy Jonez,Taliyah Whitaker,Johnathan Nieves,Manny Ure?a,Khail Bryant,Allen Holloway,Ejyp Johnson人氣佳作
月亮中的亞馬遜女人
阿瑟尼奧·豪爾,Donald F. Muhich,莫妮卡·加布里埃爾KING OF PRISM -Your Endless Call- 大～家一起閃耀！PRISM☆TOURS
寺島惇太,齊藤壯馬,畠中祐,八代拓,五十嵐雅,永冢拓馬,內田雄馬,蒼井翔太,武內駿輔,杉田智和,柿原徹也,前野智昭,增田俊樹,三木真一郎,關俊彥,森久保祥太郎,浪川大輔,中山咲月,山下誠一郎,小林龍之,土田玲央,河合健太郎,鵜澤正太郎,橘龍丸,浦田涉,天月,梶原岳人,田丸篤志,近藤隆,大橋賢一郎,岡本信彥愛情抓馬
羅伯特·帕丁森,贊達亞,馬莫多·阿西,阿拉娜·哈伊姆,海利·蓋茨,佐伊·溫特斯,邁克爾·阿伯特,西德妮·萊蒙,亞亞·戈塞林,佩頓·杰克遜,喬丁·庫雷特,馬修·J·麥克勞克林,蒂埃雷·迪亞斯,克里斯托弗·C·詹姆斯,肖恩·福格蒂,蔡斯·布雷索夫,格瑞·科恩,艾可·坎貝爾,卡拉·科爾南·約瑟夫,馬克斯·德德里安,凱西·麥克尼爾開心三響炮
曾志偉,陳百祥,陳友,古嘉露導演精選
幸福2024
影片改編自《下妻物語》等經典作品的原作---嶽本稔明的同名小說。故事講述了得知女友一周后就要死亡的“我”和“她”的青春物語。
犯罪現場調查完結篇：不朽
CBS的秋季時間表透露了CSI的最終命運：將推出一個2小時的電視電影作為大結局，元老級角色將回歸，包括“葛瑞森”威廉·彼德森、“凱瑟琳”瑪格·海根柏格。大結局將于9月27日播出，然后《網絡犯罪調查(CSI:Cyber)》第二季接檔。
等待方舟
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.