在線播放
劇情簡介
在小鎮(zhèn)漁會(huì)工作的君子（波多野結(jié)衣飾演），與漁夫義男透過相親而結(jié)婚?；獒幔影l(fā)現(xiàn)義男只是把她當(dāng)作煮飯生小孩的工具，心情不好時(shí)更會(huì)對她拳打腳踢。就在君子對生活感到絕望的時(shí)候，她遇到一位從東京來工作的男子－戶塚。溫柔的戶塚讓君子開始渴望愛情，一段激情四射的禁忌戀情就此展開，然而這也是君子墜落不幸深淵的開始…。
同類好片
急轉(zhuǎn)直下
凱特·貝金賽爾,斯科特·伊斯特伍德,馬特·克拉文,安娜·戈?duì)柤?塔利亞·亞瑟拉夫,阿文·卡納尼安,亞歷杭德拉·霍華德,羅伯特·法里奧爾,喬丹·杜維尼奧,馬達(dá)萊娜·瓦萊基·威廉姆斯,帕滕·休斯,馬西莫·麥奎因得墨忒耳號的最后航程
科里·霍金斯,艾斯琳·弗蘭喬茜,利亞姆·坎寧安,大衛(wèi)·達(dá)斯馬齊連,克里斯·瓦利,喬恩·瓊·布里恩斯,斯蒂芬·卡皮契奇,馬丁·弗魯倫德,尼古拉·尼克拉斐,伍迪·諾曼,哈維爾·博泰特,格雷厄姆·特納,安迪·穆雷,尼科洛·帕塞蒂,克里斯托弗·約克,努爾丁·法拉西,亞當(dāng)·肖,杰克·多格特,莎莉·里夫看不見的女兒
阿登·楊,茱莉亞·莎拉·斯通,Camille Sullivan玉米地的小孩：大逃亡
瑪茜·米勒,Molly Nikki Anderson,Blaine Maye,Lynn Andrews III,JR Hatchett,Mary Kathryn Bryant,Jake Ryan Scott,Sara Moore,Gavin Taylor,Debbi Tucker,Glenda Taylor,Cacky Poarch,Tom Allen,Tyler Corbin,Daria Balling,William Sturgeon超級黑暗時(shí)代
歐文·坎貝爾,查理·塔漢,伊麗莎白·卡布奇諾,馬克斯·塔利斯曼,索耶·巴斯,艾米·哈格里夫斯,安德亞·雷諾克斯,Ethan Botwick,Philip H. Ashley,Justin Rose,Kortnee Rumph,Samantha Jones,Anni Krueger,Jeffrey Alan Solomon,Carl Arcilesi英雄三元里
嚴(yán)屹寬,劉秋實(shí),孫昊,聞?dòng)?王光輝,孫蛟龍,陶奕希,方洋飛,文東俊,李圣雄,王禹森,呂文軍,陸豐,愛多,馬鐵摩導(dǎo)演精選
致命玩笑3
燥熱枯燥的長途旅行，怪物卡車司機(jī)“銹釘”（肯·科齊格 Ken Kirzinger 飾）的血腥旅程仍未結(jié)束，17號公路上布滿殘肢斷體，娛樂著他的邪惡趣味。某個(gè)平凡的路邊小餐館，奧斯?。℅ianpaolo Venuta 飾）、米克（Ben Hollingsworth 飾）、愛麗莎（Leela Savasta 飾）、鮑比（Jake Manley 飾）和茱爾（Kirsten Prout 飾）等五個(gè)準(zhǔn)備參加公路汽車?yán)惖那嗄昴信谟懻撔熊嚶肪€，他們向鄰桌打聽17號公路存在與否，卻得知了“屠殺小巷”的傳言和警告。 無所畏懼的年輕人當(dāng)然不信這個(gè)邪，他們快意上路，并遭遇“銹釘”的卡車。年輕人仗著汽車性能的優(yōu)勢，恣意戲?！颁P釘”，但卻惹到了一個(gè)絕不能隨便招惹的惡魔……
緊箍咒之不法山
大老板(陳龍飾)所困的不法山客棧迎來了一群不一般的客官，這其中，來勢洶洶的西域人究竟是何身份?群妖匯集在此蠢蠢欲動(dòng)又所圖為何?而路經(jīng)此地的唐僧師徒四人又將變幻何人才能騙過眾人耳目?在這座無法使用法力的神秘客棧，一場驚心動(dòng)魄的西游版“狼人殺”即將拉開序幕。
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.