寶貝

評(píng)分：5.2 播放：83萬 更新：2026-05-03

這是一個(gè)以80年代的新奧爾良為背景的真人真事。英俊的年輕人桑尼(詹姆斯 弗蘭克飾)剛剛被軍隊(duì)除名。因?yàn)樗募彝ケ尘昂徒?jīng)歷都極其特殊。桑尼的母親珠兒(布蘭達(dá)布萊辛飾)是新奧爾良人人皆知的妓院老板娘，在日漸沒落之后，她幻想把很多老女人都青眼有加的兒子，塑造成妓院里的招牌明星。 桑尼在參軍之前，就已經(jīng)是當(dāng)?shù)赜忻哪屑肆?。桑尼為了擺脫這種墮落的生活報(bào)名參軍，離開了母親。但是被軍隊(duì)除名之后，無處可去的桑尼只好又回到了新奧爾良，他想找一份正當(dāng)?shù)墓ぷ黟B(yǎng)活自己，擺脫母親從而離開那個(gè)令人羞恥的行業(yè)。但是母親一心要讓桑尼繼承自己的事業(yè)。與此同時(shí)在痛苦和矛盾中苦苦掙扎的桑尼，愛上了妓院里新來的姑娘卡洛爾(米娜 蘇瓦里飾)。他必須做出選擇：留下來按照母親的要求生活，或者為了自己的尊嚴(yán)和愛情站出來勇敢抗?fàn)帯?

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糖果 ??

崔智友,高東河

作為程序員工作的職場媽媽米拉，11歲的兒子?xùn)|明突然被判定為“1型糖尿病”，受到?jīng)_擊。醫(yī)生說她一輩子都要注射胰島素，對(duì)此她感到絕望，但她忍住眼淚站了起來。米拉活用自己曾是工程學(xué)專業(yè)的專業(yè)，引進(jìn)國內(nèi)未上市的連續(xù)血糖測定儀，給東明戴上，并聯(lián)動(dòng)監(jiān)護(hù)人遠(yuǎn)程監(jiān)測血糖。有采血恐懼的東明使糖尿病管理變得容易，米拉的家人從低血糖休克的焦慮中解放出來。在環(huán)友會(huì)會(huì)員的請(qǐng)求接踵而至后，米拉開始告訴孩子們?nèi)绾沃苯舆M(jìn)口并聯(lián)動(dòng)連續(xù)血糖測定儀，以幫助他們和兒子遭受同樣的疾病。但是，米拉被指控是未經(jīng)許可的非法醫(yī)療器械，在沒有通關(guān)的情況下進(jìn)口，沒有交稅。……為了家人，為了歡友會(huì)，她與世界對(duì)抗的故事將展開。

盜墓大案

李丞峰,徐光宇,石兆琪,范雷,姜寒,要武,陳韻錦

這是一部講述公安干警李方中、鐵鶴等舍生忘死與盜墓團(tuán)伙頭目“老祖”斗智斗勇，最終將其擒獲并把所有盜墓團(tuán)伙一網(wǎng)打盡，追回并保護(hù)了國寶、文物的影片。

派對(duì)島上的危險(xiǎn)

林賽·德雷斯巴赫,Andrea Prevatt,James Bobo,Kate Dailey

性格內(nèi)向的律師梅爾·戴爾得知她愛冒險(xiǎn)的妹妹突然去世后感到悲痛欲絕。但當(dāng)她前往收集姐姐的尸體時(shí)，她很快就懷疑有人謀殺。她可能是下一個(gè)。

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.