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保羅·基爾舍,伊迪爾·阿祖格利,薩利夫·西塞,斯特凡·里多,弗朗索瓦·佩徹,艾爾莎·布尚,Alexandra Thomas,Célie Valdenaire,Valentin Lespinasse,帕特里克·代·瓦萊特,Claire Langmann,Lisa Livane,Lionel Brison,Jean-Paul Charuel,Michel Janson,Antoine Carrard,Sacha Parisot,Reda Mabroum,Lucas Baily,Alexis Bessin哈佛少女的快樂清單
蓓爾·波利,內(nèi)森·連恩,加布里埃爾·伯恩,瓦妮莎·貝爾,科林·奧多霍諾,杰森·雷特,威廉·莫斯里,戴斯敏·博格斯,普娜·賈甘納坦,扎卡里·因凡特,安迪·布斯蒂羅斯,瑪哈蕾·赫沙姆,喬爾·邁克利,斯科特·啟治·武田,科妮莉亞·格斯特鐵血戰(zhàn)士:殺戮之地
艾麗·范寧,迪米特里烏斯·舒斯特-科洛阿瑪坦吉屋中異蛛
艾莉拉·布朗 , 佩內(nèi)洛普·米契爾 , 瑞安·柯爾 , 希薇婭·克洛卡 , 杰梅因·福勒 , 諾妮·哈澤赫斯 , 羅賓·奈文 , Tony J Black , 阿爾西拉·卡皮奧 , 丹尼·金 , 羅蘭·福爾摩斯奔跑的犀牛
張釗,張揚(yáng),劉哲無眠覺醒
吉娜·羅德里格茲,沙米爾·安德森,詹妮弗·杰森·李,阿麗亞娜·格林布拉特,巴里·佩珀,弗蘭西絲·費(fèi)舍,吉爾·貝羅斯,菲恩·瓊斯,塞巴斯蒂安·皮戈特,塞爾吉奧·齊奧,亞歷克斯·豪斯,盧修斯·霍約斯,特洛文·海斯,肖恩·艾哈邁德,朱莉婭·迪揚(yáng),羅伯特·巴佐齊,柴·瓦拉達(dá)雷斯,凱特琳娜·塔克西亞,瑪莎·格爾文,埃利亞斯·艾德拉基,Michael Hough雙生2022
泰莉莎·帕爾墨,史蒂芬·克里,芭芭拉·馬滕,Tristan Ruggeri,Ergo Küppas同系列推薦
如何大賺一筆
格倫·鮑威爾,瑪格麗特·庫里,杰西卡·亨維克,比爾·坎普,扎克·伍茲,托弗·格雷斯,艾德·哈里斯,詹姆斯·弗蘭切威勒,拉夫·洛,史蒂夫·馬克,露露·泰勒,安德烈·雅各布斯,Maggie Toomey,肖恩·卡梅倫·邁克爾,內(nèi)爾·威廉姆斯,喬·瓦茲,馬丁·門羅,比安卡·阿瑪托,羅伯特·霍布斯,伊?!ど5滤?/span>蛇
尤·伯連納,亨利·方達(dá),德克·博加德,菲利普·努瓦雷,米歇爾·布凱,維爾娜·麗絲,蓋·崔揚(yáng),埃爾加·安德森,瑪麗·杜布瓦,娜塔麗·內(nèi)瓦爾,安德烈·福爾肯,羅伯特·帕蒂,威廉·薩巴達(dá),羅伯特·阿爾達(dá),寶拉·皮塔格拉,路易吉·迪貝爾蒂,弗朗索瓦·麥斯特,赫伯特·福克斯,伊娃·瑪麗亞·梅內(nèi)克,法利·格蘭杰嗜血族
Daut Shaikislamov,Syrym Kashkabayev,Kilishbek Kasimbekov,Asan Mazhit斷魂小丑
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安德麗婭·賴斯伯勒,布蘭達(dá)·布萊斯,杰森·沃特金斯超級火山
Ashley Ahlquist,格蘭特·鮑爾,Aaron Christensen,泰勒·克里斯托弗,Kyle Connors,Jessica DeBonville幕后花絮
異形:奪命艦
影片時(shí)間線設(shè)定在1979年第一部《異形》與1986年的續(xù)集《異形2》之間,圍繞一群年輕而勇敢的太空殖民者展開。講述他們?yōu)樘与x外星采礦殖民地的沉悶生活,在冒險(xiǎn)探索一座廢棄的太空站時(shí),意外遭遇了宇宙中最可怕的生命體——異形。 狹窄幽暗、危機(jī)四伏的空間站中,大逃殺的序幕已經(jīng)被無情拉開,人類再次成為異形生物捕獵的目標(biāo)。在無盡的黑暗與死亡威脅的籠罩之下,太空探險(xiǎn)隊(duì)員們能否在每一次心跳的瞬間,察覺到未知生物潛伏的絲絲寒意?在這場你死我活的追逐戰(zhàn)中,他們將直面怎樣的信任挑戰(zhàn)和道德掙扎?當(dāng)一個(gè)又一個(gè)同伴被殘忍吞噬,求救無門的他們究竟能否在這場太空殺戮中尋得一線生機(jī)?
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.