即刻觀影
劇情賞析
編輯推薦
木乃伊2026
杰克·萊諾,萊婭·科斯塔,梅·卡拉美維,娜塔莉·格蕾斯,維羅尼卡·法爾孔,艾米麗·米切爾,哈亞特·卡米勒,比利·羅伊,希洛·莫利納,梅·埃爾格蒂,迪恩·艾倫·威廉姆斯一個(gè)被埋藏的秘密，正準(zhǔn)備被揭開(kāi)。失蹤多年的凱蒂突然回來(lái)，但回來(lái)的，真的還是原本的她嗎？那些看似“好轉(zhuǎn)”的變化，其實(shí)，是另一種腐敗的開(kāi)始。
英雄無(wú)聲
牛麗燕,劉旭該片由四個(gè)單元組成，分別是《軍屬》《遺囑》《抉擇》《生命大接力》。《軍屬》講述解放軍軍官侯澤剛率隊(duì)到國(guó)外執(zhí)行維和任務(wù)后，他懷孕即將分娩的妻子吳秀芬查出患癌癥，腹中的二孩剛出生就夭折，吳秀芬對(duì)丈夫隱瞞實(shí)情，頑強(qiáng)地抗擊病魔和撫養(yǎng)7歲的大兒子，讓丈夫在國(guó)外安心執(zhí)行維和任務(wù)的故事；《遺囑》講述雙擁模范許大周一家?guī)资耆缫蝗占赖旄锩沂康墓适?；《抉擇》講述雙擁模范鄭尚德一家三代人守護(hù)烈士陵園幾十年的故事；《生命大接力》講述縣武裝部政委邊文軍救助受重傷生命垂危的貧困女孩小劉梅的故事。
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.
伊甸之槍
Alexandra Faye Sadeghian,Bill Kennedy,Peter Johnson四名周末露營(yíng)者被武裝民兵追捕。
正面還是反面？
娜迪亞·特列什科維奇,亞歷桑德羅·博爾吉,約翰·C·賴?yán)?皮特·藍(lán)薩尼,米爾科·阿圖索,加布里埃萊·西里,吉昂尼·嘉科,羅伯特·阿蘭·帕卡德,喬吉?dú)W·曼涅提,薩蒂·勒潑因特,費(fèi)德里科·阿克羅尼,伊曼努埃拉·奧納吉,布魯諾·迪·吉奧瓦尼,塞弗里諾·斯佩蘭迪歐,杜門(mén)尼克·奇奧茲,薇歐拉·索爾達(dá)尼,克勞狄歐·卡斯托利20世紀(jì)初，在一場(chǎng)致命的牛仔競(jìng)技后，羅莎與她的情人踏上逃亡之路，穿越意大利荒野，試圖擺脫追捕。他們的身后，是傳奇人物“水牛比爾”——他不僅是追蹤者，更是掌控故事的人。他拒絕改寫(xiě)自己版本的真相，而羅莎的命運(yùn)也因此被卷入一段被掩蓋的往事。隨著旅程深入，逃亡逐漸演變?yōu)橐粓?chǎng)關(guān)于身份、記憶與敘事權(quán)的較量。在現(xiàn)實(shí)與傳說(shuō)交織的邊界上，羅莎必須決定是否繼續(xù)逃避，或重新掌握屬于自己的故事。
交響詩(shī)篇超進(jìn)化3
內(nèi)詳暫無(wú)簡(jiǎn)介