不屈不撓亂倫戀
Based暫無內(nèi)容on暫無內(nèi)容a暫無內(nèi)容true暫無內(nèi)容story,暫無內(nèi)容a暫無內(nèi)容love暫無內(nèi)容affair暫無內(nèi)容develops暫無內(nèi)容between暫無內(nèi)容a暫無內(nèi)容half暫無內(nèi)容brother暫無內(nèi)容and暫無內(nèi)容half-sister.暫無內(nèi)容When暫無內(nèi)容pregnancy暫無內(nèi)容results暫無內(nèi)容and暫無內(nèi)容word暫無內(nèi)容gets暫無內(nèi)容out暫無內(nèi)容the暫無內(nèi)容public暫無內(nèi)容is暫無內(nèi)容outraged.
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劇情簡介
Based暫無內(nèi)容on暫無內(nèi)容a暫無內(nèi)容true暫無內(nèi)容story,暫無內(nèi)容a暫無內(nèi)容love暫無內(nèi)容affair暫無內(nèi)容develops暫無內(nèi)容between暫無內(nèi)容a暫無內(nèi)容half暫無內(nèi)容brother暫無內(nèi)容and暫無內(nèi)容half-sister.暫無內(nèi)容When暫無內(nèi)容pregnancy暫無內(nèi)容results暫無內(nèi)容and暫無內(nèi)容word暫無內(nèi)容gets暫無內(nèi)容out暫無內(nèi)容the暫無內(nèi)容public暫無內(nèi)容is暫無內(nèi)容outraged.
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Calvin Reeder,萊恩·休斯,亞當(dāng)·溫加德,Hannah Fierman,Mike Donlan,Joe Sykes,Drew Sawyer萬世英雄
查爾頓·赫斯頓,索菲婭·羅蘭,雷夫·瓦朗,吉內(nèi)瓦維·佩吉,約翰·弗拉瑟,加里·雷蒙德,赫德·哈特菲爾德,馬西姆·塞拉托,弗蘭克·思林,邁克爾·霍爾德恩,安德魯·克魯克香克,道格拉斯·威爾默,托里奧·卡米納提,拉爾夫·杜魯門,Christopher Rhodes,卡洛·朱斯蒂尼,福斯托·托齊,芭芭拉·埃弗里斯特,尼里奧·貝爾納迪,赫伯特·羅姆,歐米洛·康帕納,Antonio Mayans,保羅·穆勒,保羅·納什,歐露莎爾芭·奈麗,維爾吉里奧·特謝拉靶場
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忠勇之家
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山下智久,岡田將生,香里奈,剛力彩芽,スギちゃん,稻垣吾郎,本田翼,堀內(nèi)敬子,蓮佛美沙子,洼田正孝,橋本真實(shí),菅田將暉,高橋光臣,手塚理美,木南晴夏,池津祥子請以你的名字呼喚我
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逆轉(zhuǎn)劫局
焦急的母親菈葵兒（艾瑪蘇雷茲飾演）到銀行借錢，她必須在24小時內(nèi)籌到35000歐元（約新臺幣130萬元），否則她將再也見不到心愛的女兒。經(jīng)過不斷懇求，銀行終於同意借款給她救急。不料在貸款手續(xù)快要完成之時，兩個蒙面搶匪闖入銀行，不但搶走所有錢，就連在場所有顧客與行員都成為人質(zhì)。在分秒必爭的險境當(dāng)中，菈葵兒決定無論付出什麼代價，都一定要拿到這筆錢全身而退…。究竟她該如何保住性命？又該如何籌錢保住女兒呢？
回到從前
故事發(fā)生在1990年，美國一名汽車修理工約翰·格雷（大衛(wèi)·丹席克 David Dencik 飾）因涉嫌猥褻自己的女兒安吉拉（艾瑪·沃森 Emma Watson 飾）而遭到逮捕。負(fù)責(zé)調(diào)查此案的警官布魯斯·肯納（伊?！せ艨?Ethan Hawke 飾）對約翰展開問詢，而在這一過程中約翰起先承認(rèn)罪行，隨后又突然失憶。為了應(yīng)對這一突發(fā)狀況，心理學(xué)教授肯尼斯·睿恩斯博士（大衛(wèi)·休里斯 David Thewlis 飾）也介入調(diào)查之中。他們發(fā)現(xiàn)，約翰信奉崇拜魔鬼撒旦的黑宗教，甚至布魯斯的搭檔都有可能參與其中。布魯斯和肯尼斯想方設(shè)法要打開嫌疑人和受害者的記憶閘門，讓他們想起最不堪回首的一段往事…… 本片根據(jù)真實(shí)事件改編。
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.