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劇情簡(jiǎn)介
講述的士司機(jī)遇到了艷遇，可事后得知是女鬼采陽(yáng)捕陰，嚇的司機(jī)趕緊求神拜佛的故事。
同類好片
開(kāi)棺2025
陳可如,光俊猩球崛起：新世界
歐文·泰格,弗蕾婭·艾倫,凱文·杜蘭,皮特·馬孔,威廉姆·H·梅西,艾卡·達(dá)維爾,迪辰·拉克曼,尼爾·桑迪蘭茲,薩拉·懷斯曼,莉迪亞·佩克漢,特拉維斯·杰弗里,拉斯-塞繆爾·瓦爾達(dá)布茲,尼娜·加拉斯終歸為塵
安吉拉·莫利納,阿爾佛萊德·卡斯特羅,莫妮卡·阿爾米拉爾,Patrícia Bargalló,Alván Prado,Manuela Biedermann,Emma Corbacho,Pol Garibaldi Gris,Nicolás Fuentes,Vito Pietroburgo,Irene Ta,Valeria Scheilen,Aleix Plademunt,Lissy Pernthaler,Silvan Luley,Lorena Nogal,Shay Partush,Oriol Genís,M精靈寶可夢(mèng)：去往超克的時(shí)空
松本梨香,大谷育江,上田祐司,豐口惠美,小櫻悅子,林原惠美,三木真一郎,犬山犬子,西村千奈美,雪野五月,小西克幸,阪口大助,伊東美彌子,古島清孝,藤本讓,岸祐二,熊井統(tǒng)子,真堂圭,三宅健太,逢坂力,中西英樹(shù),川上貴史,傳坂勉,寺谷美香,米澤圓,石冢運(yùn)升,秋山龍次,馬場(chǎng)裕之,山本博,高島政宏,中川翔子,山寺宏一,北乃綺,美輪明宏圣母瑪利亞
安妮·海瑟薇,米凱拉·科爾,亨特·莎弗,小枝女孩,雅典娜·弗里澤爾,凱雅·基伯,杰西卡·布朗·芬德利,伊紹拉·巴貝-布朗,阿爾芭·巴普蒂斯塔,茜安·克利福德,帕里納斯·埃斯梅爾薩德,勞拉·米金,朱莉婭·斯托爾巴,丹尼·維塔勒月球
薛景求,都敬秀,金喜愛(ài),趙漢哲,崔炳模,Byeong-eun Park,洪承熙,趙勝淵,Gina Theresa Williamson,Laura Fitch Yang,Shim Young-Eun導(dǎo)演精選
校園鬼
1）因和同學(xué)打賭賭輸，樸貞元、云貞等三個(gè)女孩被迫潛入傳說(shuō)中鬧鬼的廢棄校舍內(nèi)探險(xiǎn)。她們戰(zhàn)戰(zhàn)兢兢、心慌意亂，鬧出不少自己嚇自己的笑話。然而，女孩們的吵鬧驚動(dòng)了此前曾死在這里的一個(gè)女孩的怨靈，她似乎有意將這三個(gè)冒失的闖入者留在這里?！ ?）圓圓和齊齊是一對(duì)情同姐妹的好朋友，但是她們的友情正受到嚴(yán)峻的考驗(yàn)。她們同時(shí)喜歡上帥氣的學(xué)生會(huì)主席，也因成績(jī)優(yōu)秀將共同角逐校長(zhǎng)的推薦升學(xué)資格。一切朝著不可預(yù)測(cè)的方向發(fā)展?！ ?）高中男孩具有敏感體質(zhì)，他能看到周圍的鬼魂。他在教室中被一個(gè)少女的鬼魂纏上，女孩死于非命，而殺害她的兇手的鬼魂不久也尾隨前來(lái)……
博格曼
Camiel Borgman突然出現(xiàn)在某個(gè)富有的郊區(qū)，敲響了一戶小康之家的大門(mén)。他是誰(shuí)？他代表夢(mèng)想、魔鬼、諷喻，還是代表了我們的恐懼？
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.