淫欲菩薩

　　一個(gè)音樂(lè)劇版本的查爾斯·狄更斯的《圣誕頌歌》，一個(gè)吝嗇的厭世者被帶上了一個(gè)神奇的旅程。

　　科幻史詩(shī)《REBEL MOON》由《斯巴達(dá) 300 勇士》《超人：鋼鐵之軀》和《亡者之師》的導(dǎo)演扎克·施奈德耗時(shí)數(shù)十年打造。當(dāng)宇宙最遙遠(yuǎn)的月球上的一個(gè)和平村落受到殘暴的 Regent Balisarius 的軍隊(duì)威脅時(shí)，住在村中的神秘陌生人 Kora（索菲亞·波多拉飾）成為了他們生存的最大希望。Kora 的任務(wù)是尋找訓(xùn)練有素的戰(zhàn)士，與她攜手一起對(duì)抗 Motherworld。Kora 召集了一小群戰(zhàn)士 — 來(lái)自不同世界的外來(lái)者、叛亂分子、農(nóng)民和戰(zhàn)爭(zhēng)孤兒，他們有著共同的救贖和復(fù)仇需求。當(dāng)最讓人意想不到的衛(wèi)星被陰影籠罩時(shí)，一場(chǎng)關(guān)于星系命運(yùn)的戰(zhàn)斗開(kāi)始了。在這個(gè)過(guò)程中，一支新的英雄軍隊(duì)組建成立。

　　萬(wàn)圣節(jié)之夜，一位少女劇作家、她的弟弟和一群幸存者被困在一個(gè)可怕的村莊里：一群有著生命的南瓜開(kāi)始攻擊人類(lèi)，而這件事似乎在這個(gè)村莊的歷史上發(fā)生過(guò)。

　　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.