花
一段綻放在北京的中法戀情凋謝后，花（任潔暫無(wú)內(nèi)容飾）決定辭去在北京當(dāng)老師的工作，前往巴黎尋回男友，但終究還是沒(méi)能令其回心轉(zhuǎn)意。在陌生的城市游蕩，迷路的花偶遇了一位法國(guó)藍(lán)領(lǐng)馬修（塔哈·拉希姆暫無(wú)內(nèi)容Tahar暫無(wú)內(nèi)容Rahim暫無(wú)內(nèi)容飾），馬修即刻向這位中國(guó)姑娘大放殷勤，并暴力地占有了她，而絕望的花也誤打誤撞地對(duì)馬修萌生了情愫。雖然馬修瘋狂地愛(ài)著花，但他和他的朋友們卻似乎一直把花當(dāng)婊子看待，兩人之間的裂縫漸漸判若鴻溝。在巴黎渾渾噩噩的度日以及與馬修間的愛(ài)怨齟齬讓花開(kāi)始想家，她開(kāi)始探尋，在性與愛(ài)之間，自由與鄉(xiāng)愁之間，自己究竟想要的是什么……
即刻觀影
劇情賞析
編輯推薦
黑域封鎖
特瓦納·巴尼特,邁克·弗格森,LeeAnne BauerWhat begins as a peaceful venture into civilian life for a pair of military vets, quickly devolves into chaos when a nuclear crisis brings danger to their doorstep, igniting an unexpected alliance with a potential enemy, as they struggle to protect their team and overcome the shadows of their past in a lawless new world.
全面追緝令
摩根·弗里曼,莫妮卡·波特,邁克爾·維克特,迪倫·貝克,米卡·波瑞姆,安東·葉利欽,金·霍桑,杰伊·桑德斯,比利·伯克,邁克爾·莫里亞蒂,佩內(nèi)洛普·安·米勒,安娜·瑪利亞·霍斯福德,克里斯托弗·謝爾亞歷克斯（摩根·弗里曼 Morgan Freeman 飾）是一名資歷豐富的警探，這一次，他被派遣負(fù)責(zé)國(guó)會(huì)議員女兒被綁架一案。杰姬（莫妮卡·波特 Monica Potter 飾）是負(fù)責(zé)保護(hù)被綁架女孩安全的特工，正為了自己的疏忽和失職自責(zé)不已，趁此機(jī)會(huì)，她強(qiáng)烈要求成為亞歷克斯的搭檔，一同偵破此案。 隨著調(diào)查的深入，一個(gè)名為加里（邁克爾·溫科特 Michael Wincott 飾）的男人浮出了水面，除了綁架了議員的女兒，他還和城中發(fā)生的數(shù)起綁架案有著千絲萬(wàn)縷的聯(lián)系。亞歷克斯和杰姬隨即展開(kāi)了歲加里的追捕，然而，老奸巨猾的加里并不會(huì)輕易的被警方捕獲，恰恰相反，在不知不覺(jué)間，亞歷克斯走入了加里所設(shè)下的彌天陷阱之中。
復(fù)仇公主斯嘉麗
蘆田愛(ài)菜,岡田將生,役所廣司,市村正親,吉田鋼太郎,齊藤由貴,松重豐,山路和弘,柄本時(shí)生,青木崇高,染谷將太,白山乃愛(ài),白石加代子在戰(zhàn)火紛飛的中世紀(jì)王國(guó)中，手握利劍的斯嘉麗公主為替父報(bào)仇毅然踏上征途，卻以失敗收?qǐng)?。?dāng)她再次醒來(lái)時(shí)，發(fā)現(xiàn)自己身處神秘的“死者之國(guó)”。在那里，她邂逅了一位來(lái)自現(xiàn)代的理想主義青年；他的善意與慈悲，動(dòng)搖了她心中根深蒂固的仇恨。當(dāng)殺父仇敵再度現(xiàn)身，斯嘉麗必須做出抉擇：是繼續(xù)執(zhí)念于復(fù)仇，還是尋找到仇恨之外的人生意義。
狂鯊風(fēng)暴
菲比·黛內(nèi)芙,杰曼·翰蘇,科斯塔·德安杰洛,馬特·納夫萊,惠特尼·皮克,艾莉拉·布朗,史泰西·克勞森,以利亞·昂格瓦里,安德魯斯·李斯,Amy Mathews,Gemma Dart,Dante Ubaldi,Jon Prasida,Sian Luxford,Sami Afuni,Akosia Sabet,柴·漢森在一場(chǎng)毀滅性的颶風(fēng)中，一個(gè)沿海小鎮(zhèn)正奮力對(duì)抗大自然的憤怒以及鯊魚(yú)的襲擊。在傾盆大雨、飛散的殘骸和伸手不見(jiàn)五指的黑暗中，他們團(tuán)結(jié)一心，勇敢面對(duì)致命的掠食者，努力在風(fēng)暴中生存下來(lái)。
無(wú)依之地
弗蘭西斯·麥克多蒙德,大衛(wèi)·斯特雷澤恩,德里克·賈尼斯,泰·斯特雷澤恩,卡特·克利福德,彼得·斯皮爾斯,蓋伊·德福雷斯特,帕特里夏·格里爾,琳達(dá)·梅,安吉拉·雷耶斯,卡爾·R·休斯,道格拉斯·G·蘇爾,瑞安·阿基諾,特蕾莎·布坎南,凱莉·林恩·麥克德莫特·懷爾德,布蘭迪·威爾伯,馬克西·埃切維里,鮑勃·威爾斯,安妮特·威爾斯,瑞秋·班農(nóng),夏琳·斯旺基2008年金融危機(jī)下，美國(guó)內(nèi)華達(dá)州昂皮爾小鎮(zhèn)的重要經(jīng)濟(jì)支柱石膏廠倒閉，人去鎮(zhèn)空，這里的郵政編碼也被取消。丈夫去世后，幾乎在在昂皮爾小鎮(zhèn)度過(guò)了一生的弗恩（弗蘭西斯·麥克多蒙德飾）無(wú)力獨(dú)撐生活。為了將生活成本壓到最低，她將簡(jiǎn)陋的家當(dāng)搬上了改裝后的廂式貨車(chē)，開(kāi)始了一邊打工、一邊西行的公路生活。她在亞馬遜流水線上、在游樂(lè)園的咖啡廳里、在國(guó)家森林公園做臨時(shí)工。一路上，她和許多廂式貨車(chē)寄居者相遇、相識(shí)，彼此幫助，并締結(jié)了友誼。
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.