激情邊緣
JOHN與安妮在結(jié)婚前夕準備結(jié)婚時, 被不明車子撞到, JOHN不幸死亡, 而安妮流產(chǎn), 安妮幾乎崩潰. 出院后, 偶遇徐文彬的妻子美秀及兒子仔仔, 恰巧美秀需要請保姆來照顧她的兒子, 安妮就順理成章的住進文彬大宅, 更幻想有一天能取代美秀地位, 當個母親. 美秀有心臟病, 不能太劇烈興奮ML, 美秀為了改善夫妻感情, 竟然利用安妮肉體, 當成結(jié)婚紀念日的禮物, nbsp; 送給文彬和安妮一夜春宵, 從此就種下了悲劇的危機, 不但美秀在家的地位不保, 連丈夫和兒子都向著安妮, 美秀責怪安妮沒遵守游戲規(guī)則, 將她趕出家門. 但文彬不忘安妮, 仍然經(jīng)常和安妮暗地發(fā)生姦情熱愛, 并計劃遠走高飛. 待文彬瀕臨家破人亡時, 安妮已經(jīng)想起當年撞死JOHN的車輛車牌號碼, 於是事先籌劃周全, 將文彬帶到JOHN墓園, 請君入甕, 準備報復......
即刻觀影
劇情賞析
編輯推薦
梅根失蹤
安伯·珀金斯,蕾切爾·奎恩,迪恩·維特,Jael Elizabeth Steinmeyer,王仲欣,Brittany Hingle,Carolina Sabate,Trigve Hagen,Rudy Galvan,艾普爾·斯圖瓦特,John K. Frazier,Tammy Klein,Lauren Leah Mitchell,Jon Simonelli,Craig Stoa,尼基·克里斯蒂,安德魯·道布勒梅根斯和艾米性格迥異，卻成為了最好的朋友。一天梅根在網(wǎng)絡(luò)聊天室里遇見男孩喬希，兩人一投即合。然而，梅根在去見喬希后神秘消失，艾米于是竭盡全力尋找好朋友。(文/life_is_good@YDY)
棉花軟糖
柯賓·伯恩森,庫?！趥愃?Kai Cech,Max Malas在一個與世隔絕的夏令營里，膽小又內(nèi)向的12歲男孩摩根陷入了一場噩夢之中——曾經(jīng)被當作傳說的一個篝火故事竟變成了現(xiàn)實。摩根和他新結(jié)識的朋友們必須踏上一段危險重重的旅程，并揭開隱藏在表象之下的邪惡真相。
猛虎末路
勞倫斯·魯波,大衛(wèi)·舒特,塞巴斯蒂安·烏澤多夫斯基,安德烈·赫尼克,阿爾恩特·施韋林·索瑞,倫納德·昆茲,Tilman Strauss,Yoran Leicher一輛德國虎式坦克的五名車組成員被派往戰(zhàn)火紛飛的前線后方執(zhí)行一項秘密任務(wù)。在德軍亢奮藥物的刺激下，他們的任務(wù)逐漸變成了一場深入黑暗之心的旅程。
女人
寶拉雅娜·麥金托什,勞倫·阿什利·卡特,肖恩·布里吉格斯,安吉拉·貝蒂斯,卡爾利·貝克,馬西婭·貝內(nèi)特,喬安娜·哈靈頓,湯米·尼爾森,Shyla Molhusen,Gordon Vincent,Zach Rand,Shelby Mailloux,Tyler Merlini,Jordan Carrasquillo,Jordan Chapalonis影片講述了一個從小被拋棄于森林，依照動物生存模式存活下來的女人。被一個男人擄掠回家并且受盡欺凌。這家人中，男主人極度大男子主義，仇視女人。小兒子因為受父親教導也對女人極不尊敬。懦弱并逆來順受的母親，被父親侮辱而懷孕的大女兒，以及不諳世事的小女兒。故事的最后，大女兒在極度絕望和恐懼的支配下放了野女人，野女人殺了她的父母和弟弟，帶走了她的妹妹。 本片以不太恐怖的氛圍，卻深刻的暗喻了一個至今仍然存在的嚴重的社會現(xiàn)象，男人應(yīng)該如何看待女人，女人應(yīng)該如何正確扮演家庭中的角色。
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.
冰雪之行
馬特·波莫,喬什·維金斯,比爾·普爾曼,亞歷克斯·諾伊施泰特,莉莉·格萊斯頓,肯·懷特,斯科特·麥克米利恩父親與少年關(guān)系生疏，兩人決定以一次狩獵之行緩釋心結(jié)，然而深藏在森林中的灰熊，卻早已為他們埋下了生存危機。