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秦楚明,鄧詩韻,李璐兵,張冬致命塔羅
阿凡提卡·萬達納普,雅各布·巴特朗,歐文·弗熱瑞,哈里特·斯萊特,亨伯利·岡薩雷斯,拉森·湯普森,阿丹·布拉德利,沃爾夫?qū)ぶZ沃格拉茨,斯塔薩·尼科利奇,詹姆斯·斯旺頓,艾倫·韋爾斯,桑西卡·米拉諾維奇,喬絲·卡特煎釀三寶
楊千嬅,劉青云,許冠文,李蘢怡,許紹雄瘋月
Grace Adams-Short,Aaron Krygier,Kayla Malika,Gabrielle Nunzio奧本海默
基里安·墨菲,艾米莉·布朗特,馬特·達蒙,小羅伯特·唐尼,弗洛倫絲·皮尤,阿爾登·埃倫瑞奇,大衛(wèi)·克朗姆霍茨,喬什·哈奈特,杰森·克拉克,卡西·阿弗萊克,戴恩·德哈恩,本·薩弗迪,大衛(wèi)·達斯馬齊連,拉米·馬雷克,湯姆·康蒂,肯尼思·布拉納,加里·奧德曼,詹姆斯·達西,梅肯·布萊爾,杰克·奎德,迪倫·阿諾德,艾瑪·杜蒙特,杰佛遜·豪爾,喬什·祖克曼,馬修·莫迪恩,馬提亞斯·施維赫夫,亞歷克斯·沃爾夫,托尼·戈德溫,庫爾特·克勒,約翰·高恩,蒂姆·迪凱,泰德·金,古斯塔·斯卡斯加德,邁克爾·安格拉諾,丹尼·德尤為明亮的生物
莎莉·菲爾德,劉易斯·普爾曼,丹·佩恩,貝絲·格蘭特,科爾姆·米尼,勞拉·哈里斯,索菲亞·布萊克-德埃利亞,凱西·貝克,陳沖,梅根·赫弗恩,唐納德·沙利斯,薩莎·威廉斯,邁爾斯·馬薩勒,Brandon McEwan,Emily Giannozio,卡里姆·馬爾科姆,Kingston Goodjohn,Ezra Wilson,安東尼·哈里森,諾亞·克雷格,卡羅琳·亞代爾影視排行
浮云世事
卡蒂·奧廷寧,卡里·瓦納寧,葉琳娜·薩羅,薩卡里·庫斯曼嫩,馬庫·佩爾托拉愛娜（卡蒂·奧廷寧 Kati Outinen 飾）和凱瑞（Kari V??n?nen 飾）是一對感情十分要好的夫妻，他們一個是餐廳經(jīng)理，一個是電車司機，盡管經(jīng)濟并不寬裕，甚至有些“緊巴巴”，但很顯然，照此發(fā)展，兩人的未來充滿了光明和希望?！ 〗?jīng)濟危機的到來讓愛娜和凱瑞的家庭也陷入了危機，愛娜所在的餐廳破產(chǎn)倒閉，凱瑞在公司的“裁員抓鬮”中不幸中彩，夫妻兩人同時失去了工作，家里的貸款還未還完，生活露出了真實而殘酷的面孔，愛娜和凱瑞不知該如何是好。雖然丟掉了工作，但夫妻兩并沒有丟掉斗志和尊嚴(yán)，為了生存，他們做出了種種努力，不幸的是，這些努力均以失敗告終。在此走投無路之際，愛娜曾經(jīng)的老板出現(xiàn)在了愛娜的面前，他帶來了一個機會，它有可能壞的，但也有可能是好的。
一起過家家
宋木子,蔣詩萌,合文俊,夏甄,葉泉希,李飛,陳璽旭,楊九郎,衣云鶴,馬旭東,李曼,土豆妻子鮑一萌是頭部帶貨主播，丈夫宋李是全職丈夫，弟弟鮑鵬在復(fù)讀備戰(zhàn)高考。一天，三人意外發(fā)現(xiàn)互換身體。全家的靈魂與身體分別錯位。全職丈夫宋李（小舅子身）重回學(xué)校，懷念青春中彈琵琶的夢想，但繁重的學(xué)習(xí)生活，讓他感到力不從心。復(fù)讀生小舅子鮑鵬（妻子身）不懂管理公司，并在直播時狀況百出，女神小靜的奮斗讓他慚愧。主播鮑一萌（丈夫身）在輔導(dǎo)女兒的生活中發(fā)現(xiàn)，做家務(wù)和帶娃并不簡單。相比之下，丈夫開明的教育方式仿佛讓女兒的成長更美好。一家人決定支持宋李（小舅子身）重拾琵琶參與音樂比賽。深夜，宋李三人被關(guān)在冷藏車內(nèi)被凍得奄奄一息。他們終于換回來了！一家人的生活重新回到正軌，和諧美滿。
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.
追遠(yuǎn)尋根
Clare Monnelly,布里·尼·內(nèi)奇廷,亞歷山德拉·比斯特日茨卡婭,Clare Barrett,夏洛特·布拉德利,塔拉·布雷思納克,格蕾絲·科倫德,Peadar Cox,Jim Cunningham,多蘿西·達菲,Marcus Lamb,邁克爾·奧·萊恩,Oisín ó Maoileoin,Liv O'Donoghue,奧爾加·韋爾利被譽為“史上第一部愛爾蘭語恐怖片”，《弗雷瓦卡》圍繞一位名叫休的護理工作者展開，她被個人悲劇所困擾。休被派往一個偏遠(yuǎn)村莊照顧一位患有廣場恐懼癥的女性，她既害怕鄰居，也害怕納希德——她相信幾十年前被這些神秘民間實體綁架。隨著兩人建立起深厚的聯(lián)系，休逐漸被這位老婦人的偏執(zhí)、儀式和迷信所吞噬，最終面對她自己的過去所帶來的恐怖。