廚房春光

劇場(chǎng)靈

　　水樹(shù)沙羅（島崎遙香 飾）是一個(gè)在演藝圈打拼多年的青年女演員，雖然她努力磨練演技，勤奮專注，卻始終未得到世人的關(guān)注。在此期間她受到來(lái)自事務(wù)所的壓力，二者相權(quán)之際最終選擇參加劇作家錦野豪太（小市慢太郎 飾）的新作《鮮血的召喚》的試鏡?！鄂r血的召喚》根據(jù)史上真實(shí)人物嗜血如命的伊麗莎白的故事改編，為了美這個(gè)女人不惜殘害鮮活的生命。沙羅與同事務(wù)所小有名氣的女星筱原葵（高田里穗 飾）一同試鏡，兩人最終分別獲得了農(nóng)家女孩安娜以及主角伊麗莎白的角色?！　≡谂叛葸^(guò)程中，放置在舞臺(tái)中央的人偶似乎有了自己的意識(shí)，讓本就為了榮光而近乎癲狂的女子們更走向了崩潰的邊緣……

掃惡

千禧時(shí)代質(zhì)感的動(dòng)作犯罪類型，奇葩刑警隊(duì)長(zhǎng)與背負(fù)殺父之仇的少年聯(lián)手追緝重出江湖的殺人劫車團(tuán)伙，刺激爽感中不乏社會(huì)思考和感動(dòng)。

養(yǎng)鬼吃人8：地獄世界

　　這部最新續(xù)集故事從五個(gè)年青的互聯(lián)網(wǎng)游戲者，接到一個(gè)神秘的邀請(qǐng)開(kāi)始，去參加一個(gè)名叫《地獄互聯(lián)網(wǎng)》站點(diǎn)的特殊聚會(huì)，不過(guò)他們沒(méi)有想到，那是一個(gè)恐怖的難以用言語(yǔ)表達(dá)的夜晚。。。全新特技、視覺(jué)效果，一個(gè)恐怖電影迷不能放過(guò)的片子。　　這是一部全新而獨(dú)特的Hellraiser系列最新篇，大部分原班人員繼續(xù)上陣。和其它幾集比較來(lái)說(shuō)，表面看只是一出跟其它B級(jí)片沒(méi)兩樣，同樣灑狗血的電影，但Rick Bota在血和核突以外，還加上深入一點(diǎn)的人性探討。前幾集的故事主要跟家庭、人的欲望和惡行有關(guān)，結(jié)果令他們慘受地獄使者的騷擾，充滿冷色調(diào)的美術(shù)設(shè)計(jì)，令Clive Barker所營(yíng)造的世界，更見(jiàn)冷酷。

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.

19 十九