即刻觀影
劇情賞析
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愛的藝術2020
韓海印,?????? ?? ??? ????? ??? ???? ??? ? ?? ?? ?????? ???? ??? ????? ?? ???. ???, ??? ??? ???? ‘??? ??’ ????? ?? ????? ??? ????? ?? ??? ?? ??? ‘??’? ?? ????? ??? ?? ?? ??? ??? ??. ??? ??? ??? ??? ?? ???? ??? ????? ??? ?? ?? ?? ?? ??? ??? ? ??? ?????. ?? ??? ??? ? ?? ? ??? ??? ????? ??? ??? ??? ?? ?? 2019? ?15? ????????? ?? ????? ?? - ??
黎明殺祭
Sylwia Boron,Monika Frajczyk,Adam Machalica,Piotr Nerlewski,盧卡什·什切帕諾夫斯基,巴特羅米耶·托帕,Paulina Zwierz暴風雪肆虐的圣誕夜，一群年輕演員受邀前往神秘的海森霍夫家族經營的巴洛克劇院，排演那位隱居劇作家的巔峰之作。隨著一名戴著“眼球面具”的殺手現身，排練演變為慘烈的生存競賽。演員們后知后覺地發現，劇本中的每一幕死亡，都是一場旨在召喚反基督者的古老儀式。
毛骨悚然撞鬼經 2016夏季特別篇
稻垣吾郎,武井咲,豐島花,板谷由夏,中島健人,前野朋哉,半海一晃,生田繪梨花,生駒里奈,齋藤飛鳥,白石麻衣,西野七瀨,笨蛋節奏,岸井雪乃,吉本美憂,利重剛,柳葉敏郎,前田敦子,鹿賀丈史病房里的五元硬幣：護士吉川亞由美（武井咲 飾）發現，每當小病人麻友呆呆地指著某個房間某個病床時，該病床的病人就會很快死去。壁櫥好可怕：心懷美容師夢想的青年干也（中島健人 飾）在東京租住了一間廉價公寓，然而房間內的壁櫥門總會莫名其妙打開。多出一個人的電梯：四名高中女孩去看望骨折住院的好友上崎亞矢奈因（生駒里奈 飾），當她們準備坐電梯離開時，電梯內突然好像又進來一個“人”。詛咒繪馬：小島洋介（バカリズム 飾）意外得到一個會帶來厄運的繪馬，他試圖擺脫卻沒有辦法。夏季通知：不顧父親反對而闖蕩東京的朋子（前田敦子 飾）飽受挫折，偏偏她發現已經去世的父親（鹿賀丈史 飾）時不時出現在他的身邊。引誘池塘：已步入老年的高松（柳葉敏郎 飾）告別子女，打算在度假區多待一天，夜幕降臨，他似乎看到去世妻子的鬼魂在召喚著他。
致命錄像帶
Calvin Reeder,萊恩·休斯,亞當·溫加德,Hannah Fierman,Mike Donlan,Joe Sykes,Drew Sawyer蓋里（Calvin Reeder 飾）、扎克（Lane Hughes 飾）等人是一伙無惡不作的不法之徒，某天他們接到委托，要闖入某戶人家偷取一盒神秘的錄像帶。空空蕩蕩的大房子里，只有一個死去的老人坐在電視機前。他們無所顧忌，播放了那盤錄像帶：第一段視頻中，一群年輕人帶著針頭攝像頭去夜店狂歡把妹，卻遭遇一名奪命妖妹；一對旅行中的情侶入住Motel，期間他們偶遇一名請求搭車的女子，夜晚更有人潛入他們的房間，厄運降臨；兩男兩女驅車去林區度假，卻遭遇兇殘的殺手；一對網絡情侶通過視頻聊天，女子聲稱經常在家中聽到奇怪的聲響。鏡頭前，一幕幕恐怖畫面接連上演。萬圣節，幾名男子以外遭遇了神秘而殘酷的儀式，他們介入其中，自己的命運也發生改變。 錄像帶結束，恐怖故事卻剛剛來開序幕……
德國懸案事件簿：失蹤警探
羅蘭·維斯內克,梅克·德羅斯特,馬克·本杰明·普赫一天清晨，刑警驚覺自己的搭檔失去了音訊。事實上，搭檔在夜晚返家的途中，意外目睹一起犯罪行為。不料現場突然發生提款機爆炸，她身受重傷，隨即被犯人綁走。
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.