無恥

★ 7.3 播放：13萬 更新：2026-05-03

喬治的停止性生活，而不是呼吸。維亞雷焦，男人在農(nóng)村的大型房地產(chǎn)業(yè)主，不再年輕，但依然英俊，交替反復(fù)多次婚姻，他的妻子阿萊西婭瘋狂鬼鬼祟祟的會議，配套和質(zhì)樸。對行完全一致，但有一個癱瘓的兒子，其主要目的是娛樂用望遠(yuǎn)鏡從輪椅間諜，甚至可以通過鎖孔，旁白，這是合法與否，火熱的父母。安德魯，一個十幾歲的兒子有問題，感覺自然激勵了他的年齡，但他的努力，稀有和笨拙，與農(nóng)民住房業(yè)務(wù)的女孩，無論是金發(fā)碧眼的服務(wù)員，Areta，誰不面對嘲笑或拒絕。從這個痛苦和挫折。喬治從摔下樓梯去世晚上在家，張力變成急性安德烈，現(xiàn)場鲆，新和英俊的農(nóng)場主接壤，誰后，很快就吸引阿莉絲雅的外觀，管理取勝初步阻力渴求寡婦。的兩個愿景，連接在一個良好的林和誣陷通常的望遠(yuǎn)鏡，加重并攪得不幸的男孩，他的母親帶著以調(diào)用該男子的房子。開始她自己的兒子，不幸和其他婦女的行為似乎已經(jīng)否認(rèn)了他對性生活。 Gianni西拉古薩的也執(zhí)導(dǎo)了良好的強(qiáng)迫/復(fù)仇電影叫禿鷹在城市。 　　

在線播放

劇情簡介

喬治的停止性生活，而不是呼吸。維亞雷焦，男人在農(nóng)村的大型房地產(chǎn)業(yè)主，不再年輕，但依然英俊，交替反復(fù)多次婚姻，他的妻子阿萊西婭瘋狂鬼鬼祟祟的會議，配套和質(zhì)樸。對行完全一致，但有一個癱瘓的兒子，其主要目的是娛樂用望遠(yuǎn)鏡從輪椅間諜，甚至可以通過鎖孔，旁白，這是合法與否，火熱的父母。安德魯，一個十幾歲的兒子有問題，感覺自然激勵了他的年齡，但他的努力，稀有和笨拙，與農(nóng)民住房業(yè)務(wù)的女孩，無論是金發(fā)碧眼的服務(wù)員，Areta，誰不面對嘲笑或拒絕。從這個痛苦和挫折。喬治從摔下樓梯去世晚上在家，張力變成急性安德烈，現(xiàn)場鲆，新和英俊的農(nóng)場主接壤，誰后，很快就吸引阿莉絲雅的外觀，管理取勝初步阻力渴求寡婦。的兩個愿景，連接在一個良好的林和誣陷通常的望遠(yuǎn)鏡，加重并攪得不幸的男孩，他的母親帶著以調(diào)用該男子的房子。開始她自己的兒子，不幸和其他婦女的行為似乎已經(jīng)否認(rèn)了他對性生活。 Gianni西拉古薩的也執(zhí)導(dǎo)了良好的強(qiáng)迫/復(fù)仇電影叫禿鷹在城市。 　　

導(dǎo)演精選

挑戰(zhàn)未來3：殘酷獵殺

　　利用《電子戰(zhàn)場2》留下的片段和一條非常細(xì)的故事線，亞歷克斯再次與1998年在非洲東部的機(jī)器人雇傭兵作戰(zhàn)。這一次，亞歷克斯發(fā)現(xiàn)她有20個半姐妹正在等她回到2077年。中央司令部希望亞歷克斯被活捉并掃描，看看她的DNA是否比正常的DNA更強(qiáng)更有力。但是亞歷克斯可能太苛刻了，不值得去捕捉。

曼谷保鏢2

　　⊙《曼谷保鏢2》的故事：　　影片故事講述拔泰王錦魯飾演的東南亞某小國特工翁坤，為了調(diào)查一伙恐怖份子，秘密潛入泰國曼谷執(zhí)行任務(wù)，并化裝成為流行歌星，混入唱片公司追查。他老婆并不知道他的真實(shí)身份，因?yàn)槲汤な莻€十足的“妻管嚴(yán)”，但要命的是，他在泰國無可救藥愛上了一個漂亮美眉……與此同時(shí)，恐怖份子也要發(fā)動大規(guī)模襲擊了，翁坤如何能制止這場破壞？　　⊙《曼谷保鏢2》的看點(diǎn)：　　繼2005年大賣座的第一集之后，《曼谷保鏢》于今年拍出了續(xù)集，有“泰國周星馳”之稱泰國喜劇明星拔泰王錦魯繼續(xù)自編自導(dǎo)自演，繼續(xù)請來《拳霸》東尼·嘉參與演出。影片向周星馳、成龍電影偷了師，并且自己惡搞了《拳霸》《冬蔭功》等片，拔泰王錦魯（《拳霸》另一主演）演出非常出彩過癮。Tony Jaa則之是客串身份，在片中有一場打斗，另外自己還拿《冬蔭功》開涮，十分的“搞”。

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.