孕婦的誘惑

X 放射線

　　有個(gè)驚嚇過(guò)度的小女孩在沙漠游走，唯一吐出的只有一個(gè)字：怪物！任何50年代恐怖片迷都會(huì)馬上告訴你，她所指的”怪物”就是巨蟻，那是在當(dāng)?shù)睾俗釉嚤蟮母碑a(chǎn)品。這些巨蟻非常有組織，嗜肉且體型巨大，約有8到20呎，它們?nèi)壕墼诼迳即壍南滤老到y(tǒng)，彷若一個(gè)巨大的螞蟻園區(qū)，準(zhǔn)備好要接管這個(gè)世界。要和這些怪物對(duì)抗的人類精英是新墨西哥警署探員詹姆斯惠特摩，聯(lián)邦調(diào)查局代表詹姆斯亞尼斯，和一對(duì)由埃德蒙關(guān)恩和喬安妮威爾登所飾的父女檔昆蟲(chóng)學(xué)家。

全境災(zāi)變

　　在一場(chǎng)死亡率不是1%，而是98%左右的疫情之后，艾莉離開(kāi)了她的街區(qū)，到了一個(gè)新的城市，在那里她遇到了奎恩，一個(gè)對(duì)新世界有獨(dú)特生存之道的人。

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.

男孩、鼴鼠、狐貍和馬

 查理·麥克西的同名繪本改編的手繪動(dòng)畫(huà)，關(guān)于善良、友誼、勇氣和希望，通過(guò)一段辛酸而真摯的旅程，講述了一個(gè)男孩、一只鼴鼠、一只狐貍和一匹馬，四個(gè)孤獨(dú)的靈魂在尋找家的過(guò)程中結(jié)伴而行，并在彼此身上找到了自己存在的意義。

四面三角

AI 愛(ài)上你

　　一個(gè)故障百出的 AI 機(jī)械人正面臨被淘汰的命運(yùn)，卻因愛(ài)上一個(gè)女人而躲進(jìn)一個(gè)男人的血肉之軀，用盡千方百計(jì)奪取芳心。