劇情簡介
蘿絲(芮妮·索滕代克 飾)是一名年輕美貌的醫生,和兒子大衛住在一幢海邊的公寓里,因為她和丈夫波·杰克分居。某日,她兒子的保姆突遭人殺害,警方經調查后認為住在同一公寓的男子柯·艾利極為可疑,因為艾利之妻年前才不明不白地死亡,但蘿絲卻認為艾利是無辜的,經由此一事件后發現彼此吸引著對方,關系逐漸親密起來。
為你推薦
父母姐弟
凱特·布蘭切特,亞當·德賴弗,夏洛特·蘭普林,薇姬·克里普斯,湯姆·威茲,莎拉·格林,弗朗索瓦茲·勒布倫,茵蒂婭·摩爾,盧卡·薩巴,馬伊姆·拜力克疏離多年的手足被迫重逢,直面未解的心結,重新審視與情感疏離的父母之間緊張的關系。
新萬圣節
馬爾科姆·麥克道威爾,布拉德·道里夫,威廉·弗西斯,雪莉·穆恩·贊比1963年,在位于美國的伊利諾斯州的霍登平原市。陰暗恐怖的夜色籠罩著這座死寂的小城市,一起奇異的慘案就在黑暗當中發生了:梅爾斯家里只有六歲大小的邁克爾·梅爾斯(達格·法奇飾),殘忍的用棒球棒將母親的男朋友一棍一棍的錘成了肉泥,然后又將自己的姐姐以及姐姐的男朋友一同肢解得支離破碎、慘不忍睹…… 事實上,這個特別的小男孩兒在一生來似乎從面孔到內心就充滿了深深的邪惡與仇恨。而令所有人萬萬沒有想到的是男孩剛剛長到他6歲這一年便瘋狂般地露出了他猙獰的惡魔臉孔。而每一年象征著“群魔亂舞”的萬圣節似乎也成了他活躍異常的時刻。 根據美國當地的法律,未成年人殺人并不會受到警方更嚴厲的制裁,最終裁定將這個心靈扭曲的少年送到了精神療養所進行看管。在那里,一個名叫薩米爾·魯米斯的醫生負責調教和看管惡魔男孩兒。從未見識過如此兇殘的兒童的魯米斯想盡一切辦法接近這個可怕少年的心靈,試圖去影響、改變他的一切。但醫生做的所有嘗試都最終以失敗而告終。邁克爾·梅爾斯是一個極其頑固的邪惡的載體,他沒有理智、毫無人性可言,有的只是日益強悍的身體和越來越強烈的暴虐和不斷增長的殺戮欲望——薩米爾·魯米斯最后也意識到了這點,但似乎所有這一切都已經為時太晚了。 在被關押了漫長的十七年之后,已經“長大成人”的邁克爾·梅爾斯憑借強壯的身體終于找到機會逃出了逼仄的牢籠。壓抑已久的仇復與殺戮的惡魔之心終于得到了釋放的機會,他迫不及待的回到霍登平原市,去尋找他唯一真正愛護過的妹妹勞瑞。 這一切的真相,只有薩米爾·魯米斯知道,老醫生深知他的目的所在;也只有薩米爾·魯米斯知道,任何不幸遭遇惡魔邁克爾·梅爾斯的人都將以最慘痛的方式付出自己的生命做代價。如今,留給他的時間已經不多,他要竭盡全力去警告無知的人們,并保護這家人唯一的希望——勞瑞。與此同時,為了所有其他人的無辜性命,魯米斯還要拼盡全力找到并控制住瘋狂的邁克爾·梅爾斯。尤其是每當月黑風高的萬圣節之夜悄悄降臨時……
辣手回春
鄭伊健,張柏芝,陳小春,許紹雄,林雪,林蛟,黃浩然,黃文慧8年前Yan進醫院割盲腸時遇到了Joe(鄭伊健 飾)與Jim(陳小春 飾)兩位醫生,都給她留下了深刻的印象,也是她決心成為醫生的緣故,她更打算嫁給他們其中一個。當她進入他們所在的醫院當醫生的時候,發現Jim變成了一個市儈、沒有責任心的醫生,Joe更因為不滿現今的醫療管制而不當醫生了。Yan失望之余決定要把他們拉回原來的職位,繼續做一個有責任感的醫生,Yan的熱誠確實使一眾醫護人員改變不少。
瓢蟲少女特別篇:巴黎故事
他們來自一個一切都顛倒的平行宇宙:瓢蟲和黑貓的擁有者,暗影瓢蟲(ShadyBug)和黑爪(Claw Noir),是惡棍,而蝴蝶的擁有者,赫斯佩利亞(Hesperia),是一個超級英雄。瓢蟲(Ladybug)和黑貓(Cat Noir)將不得不幫助赫斯佩利亞抵御他們邪惡的雙胞胎的攻擊,并阻止他們奪取蝴蝶奇跡(Butterfly Miraculous)。我們的英雄們能否也幫助赫斯佩利亞并讓暗影瓢蟲和黑爪成為更好的人呢?
雷霆營救
安志杰,Vanessa,羅偉,趙儒嫣,Alleyn,柯恬柔,Hamid,高明燊講述退役特種兵程凱,為尋找失蹤的醫療隊員妻子肖玲,孤身闖入恐怖勢力猖獗的沙查爾地區。他潛入核心據點塔林,與盤踞此地的雇傭兵展開較量。期間受被擄女孩米拉的關鍵幫助,二人躲避追殺,歷經重重艱險,最終成功沖破封鎖,將米拉救出雇傭兵的魔掌的故事。
開著我的房車去旅行
秦宇,李芷珺,姿娜,王坤炎影片講述了主人公周云飛因為夢想,踏上了自己的房車之旅,在旅程中他經歷了許多事情,也體會到了很多道理。人生就是一場旅行,你一定要讓你自己的人生,活的精彩,活的有價值。就這樣,周云飛向著他新的人生方向奔赴而去的故事。
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.