即刻觀影
劇情賞析
編輯推薦
守護(hù)者2025
塔提阿娜·瑪斯拉尼,羅西弗·薩瑟蘭,伯克特·圖爾頓,艾琳·博伊斯,泰絲·登根斯坦,克萊爾·福萊森,克里斯汀·帕克,洛根·皮爾斯,艾拉·韋杰爾,格倫·戈登,伊芙琳·伯克,吉娜·武爾塔焦,艾琳·蒂普爾一對(duì)愛侶Liz和Malcolm去到一座偏僻的小屋度假，Malcolm卻因意外先回城了，留下Liz獨(dú)自一人，她很快發(fā)現(xiàn)這座小屋有著邪惡可怕的過去，如今纏上了自己。
昆池巖
魏嘏雋,樸智賢,吳雅妍,文藝媛,樸成焄,柳濟(jì)允,李承旭原名南營神經(jīng)精神醫(yī)院的昆池巖精神病院，最早建立于20世紀(jì)60年代。在特殊的時(shí)代它曾經(jīng)歷了無比的輝煌，然而更為人熟知的則是該醫(yī)院身上所發(fā)生的各類恐怖事件。現(xiàn)如今，早已廢棄的昆池巖醫(yī)院被CNN票選為全球七大恐怖之地之一，更由此吸引無數(shù)尋求刺激的青年男女來此探險(xiǎn)。三個(gè)月前，兩名青少年來此探險(xiǎn)，結(jié)果在直播中遭遇詭異事件，下落不明。此后，《恐怖世代》劇組在魏河俊的召集下，網(wǎng)羅了吳雅妍、樸智賢、夏洛特（文藝媛 飾）、李丞旭、樸成勛、劉帝允等人前往昆池巖，更試圖打開備受詛咒的402室?！ ∫鼓唤蹬R，全球網(wǎng)友一道觀看這場恐怖盛宴……
密室逃生2
泰勒·拉塞爾,洛根·米勒,霍蘭·羅登,茵蒂婭·摩爾,托馬斯·康奎爾,伊莎貝拉·弗爾曼,詹姆斯·弗萊恩,卡利托·奧利維羅,杰米-李·蒙尼,坦婭·范·格拉恩,阿維亞娜·亞伯拉罕好萊塢驚悚大片《密室逃生2》由《速度與激情》系列金牌制片人重磅打造，前作曾創(chuàng)下中國影史進(jìn)口驚悚片票房冠軍。續(xù)作在闖關(guān)難度和驚險(xiǎn)刺激程度上全面升級(jí)，集結(jié)全球頂級(jí)玩家合力解鎖超高難度密室，開啟命懸一線的殘酷生存之戰(zhàn)。
歌舞大王齊格飛
威廉·鮑威爾,瑪娜·洛伊,路易絲·賴納,弗蘭克·摩根羅伯特．Z．倫納德導(dǎo)演的這部影片以百老匯最大的歌舞團(tuán)——齊格菲歌舞團(tuán)的創(chuàng)辦人佛羅倫斯．齊格菲的生平為題材，是三十年代好萊塢歌舞片黃金時(shí)代的重要代表作之一。當(dāng)時(shí)獲得了第九屆奧斯卡最佳影片等三項(xiàng)大獎(jiǎng)，女星路易絲．萊娜演出齊格菲的首任妻子，獲最佳女主角獎(jiǎng)。齊格菲年輕時(shí)是雜耍節(jié)目中表演的藝人。1893年到百老匯發(fā)展，建立了歌舞團(tuán)的知名度，1907年創(chuàng)辦了以美女盛裝演出大型歌舞著稱的齊格菲歌舞團(tuán)，贏得歌舞大王的稱號(hào)。齊格菲一角由威廉．鮑威爾擔(dān)綱演出，男女主角都表演得很好。
光榮何價(jià)
大衛(wèi)·卡拉丁,Ronny Cox,蘭迪·奎德,梅林達(dá)·狄龍這部電影是伍迪·格斯的優(yōu)秀傳記，他是美國最偉大的民謠歌手之一。他在上世紀(jì)30年代離開了自己位于得克薩斯州的家，去找工作，發(fā)現(xiàn)了美國工人階級(jí)的苦難和力量。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),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(yáng)·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.