　　「沈黙のパレード」の4年前に起きた事件を描く「ガリレオ禁斷の魔術(shù)」。帝都大學(xué)の準(zhǔn)教授である湯川のもとを刑事の草薙俊平と、部下の牧村朋佳が訪れる。殺害されたフリーライター?長(zhǎng)岡修の部屋から、突然倉(cāng)庫(kù)の壁に穴が開(kāi)くという奇妙な動(dòng)畫(huà)ファイルが見(jiàn)つかったのだ。動(dòng)畫(huà)を観て珍しく興味を抱く湯川。「映像が撮影された場(chǎng)所を見(jiàn)せてくれ」と言う湯川のただならぬ様子を気にかけつつ、草薙は牧村とともに現(xiàn)場(chǎng)へ向かう。

狂犬病1977

瑪麗琳·錢(qián)伯斯,弗蘭克·穆?tīng)?喬·西爾弗,霍華德·雷什潘,帕特麗夏·蓋奇,蘇珊·羅曼,Roger Periard,Lynne Deragon,Terry Schonblum,Victor Désy,Julie Anna,Gary McKeehan,Terence G. Ross,米格爾·費(fèi)爾南德斯,Robert O&#039;Ree,艾倫·莫伊爾,Malcolm Nelthorpe,瓦拉斯塔·瓦拉納,彼得·麥克內(nèi)爾,Una Kay,Robert A. Silverman,Isabelle

　　加拿大導(dǎo)演戴維．克羅南伯格執(zhí)導(dǎo)的本片，主要描寫(xiě)駭人聽(tīng)聞的瘋狗病，受傳染的人會(huì)口吐綠液，雙眼發(fā)光，并且見(jiàn)人亂咬，幾個(gè)小時(shí)后即不治而亡。美國(guó)著名的“性”星瑪里琳．查姆伯絲扮演的羅絲小姐幼時(shí)曾患過(guò)瘋狗病，因車(chē)禍?zhǔn)軅鸩《緩?fù)發(fā)，腋下竟然不可思議地長(zhǎng)出一個(gè)嘴巴，而且內(nèi)有一個(gè)可伸縮自如的肉刺，專(zhuān)用來(lái)插到別人身上吸血。于是，她在一個(gè)接一個(gè)吸別人血的同時(shí)，也把瘋狗病迅速傳播，使城市瞬間成為瘋?cè)藵M布的人間地獄……　　影片評(píng)價(jià)　　僅僅就身體變異而言，克隆伯格的獨(dú)特之處在于處處不忘對(duì)色情幻想進(jìn)行扭曲，無(wú)論是《狂犬病》（Rabid）中女主角必須由腋下長(zhǎng)出一只陰莖來(lái)對(duì)其陰道作出支撐，還是《錄像帶謀殺案》（Videodrome）中男主角長(zhǎng)出陰道般的裂口，都是這種扭曲的必然，連錄像帶的轉(zhuǎn)子，都像雙乳一樣扭動(dòng)?！朵浵駧е\殺案》其實(shí)還有一個(gè)原來(lái)設(shè)想的結(jié)局，就是一男（男主角麥克斯）兩女（尼基和卞卡）合體，同時(shí)以各自的變異性器官相互絞纏吞噬。在《赤裸的午餐》(Naked lunch)中，那個(gè)最終撕開(kāi)男性外皮露出女體乳房的總裁如果還不夠刺激，等你意識(shí)到她的裝束是女同施虐的標(biāo)準(zhǔn)配備，就會(huì)有格外的顫栗。

等待方舟

耶日·斯圖爾,克里斯提娜·楊達(dá),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(yáng)·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.

炸掉銀行經(jīng)理

路易斯·托薩爾,戈雅·托萊多,哈維爾·古鐵雷斯,埃爾薇拉·明戈斯,費(fèi)爾南多·卡約,里卡多·德巴雷羅

　　卡洛斯在一家銀行支行當(dāng)總經(jīng)理，最近他正和妻子瑪爾塔鬧別扭。風(fēng)和日麗的一天，他送兩個(gè)孩子馬科斯和莎拉上學(xué)，卻發(fā)生了改變他人生命運(yùn)的事。嶄新的汽車(chē)上莫名其妙地出現(xiàn)一部手機(jī)，一個(gè)陌生男人打來(lái)電話，號(hào)稱(chēng)卡洛斯的車(chē)?yán)锉话仓昧艘活w炸彈。而恰在此時(shí)，一個(gè)神秘的黑衣摩的男尾隨而至。這是一個(gè)惡作劇，還是真實(shí)的綁架勒索？事情的緣起何故，卡洛斯一家命運(yùn)又該如何？這部西班牙電影將為你呈現(xiàn)一百分鐘的驚心動(dòng)魄……

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