他母親的房子
"Petter暫無內(nèi)容(Svein暫無內(nèi)容Sturla暫無內(nèi)容Hungnes)暫無內(nèi)容quits暫無內(nèi)容his暫無內(nèi)容studies,暫無內(nèi)容and暫無內(nèi)容break暫無內(nèi)容up暫無內(nèi)容with暫無內(nèi)容his暫無內(nèi)容girlfriend.暫無內(nèi)容He暫無內(nèi)容moves暫無內(nèi)容back暫無內(nèi)容to暫無內(nèi)容his暫無內(nèi)容homeplace,暫無內(nèi)容to暫無內(nèi)容his暫無內(nèi)容mother暫無內(nèi)容(Bente暫無內(nèi)容B?rsum)暫無內(nèi)容who暫無內(nèi)容lives暫無內(nèi)容alone.暫無內(nèi)容There暫無內(nèi)容has暫無內(nèi)容always暫無內(nèi)容been暫無內(nèi)容a暫無內(nèi)容good暫無內(nèi)容relationship暫無內(nèi)容between暫無內(nèi)容Petter暫無內(nèi)容and暫無內(nèi)容his暫無內(nèi)容mother,暫無內(nèi)容and暫無內(nèi)容she暫無內(nèi)容doesn`t暫無內(nèi)容mind暫無內(nèi)容that暫無內(nèi)容he暫無內(nèi)容moves暫無內(nèi)容back暫無內(nèi)容home.暫無內(nèi)容When暫無內(nèi)容Petter暫無內(nèi)容finds暫無內(nèi)容a暫無內(nèi)容new暫無內(nèi)容girl暫無內(nèi)容at暫無內(nèi)容his暫無內(nèi)容homeplace,暫無內(nèi)容his暫無內(nèi)容mother暫無內(nèi)容reacts暫無內(nèi)容in暫無內(nèi)容a暫無內(nèi)容negative暫無內(nèi)容way.
即刻觀影
劇情賞析
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愛情鳥的自救
庫梅爾·南賈尼,伊薩·雷,安娜·坎普,保羅·斯帕克斯,凱爾·柏海莫,喬·克里斯特,布萊恩·克恩,莫西斯·斯托姆,賈倫·米切爾,T·C·馬特恩,格拉倫·布萊恩特·班克斯,尼古拉斯·帕森斯,安東尼·邁克爾·弗雷德里克,韋米蒂婭·埃拉恩,萊斯利·卡斯泰,Kenneth Kynt Bryan,Catherine Cohen,Kelly Murtagh,Andrene Ward-Hammond一對情侶(伊薩·雷和庫梅爾·南賈尼飾)正在互訴衷腸,結(jié)果被無意中卷入了一場謀殺迷局。洗刷罪名的過程極端又滑稽,他們必須挺過這一夜,以保住兩人的戀情和性命。
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戰(zhàn)栗驅(qū)魔
漢娜·邦·本茲,迪恩·基爾貝,Nicholas AnscombeAn exorcism goes horribly wrong and unleashes a vengeful spirit that has been locked up for centuries.
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.