乳首女
在整形診所擔(dān)任護(hù)士的咲（泉じゅん 飾）美麗端莊，對(duì)待性事似乎趨于保守。在告別上一段戀情后，她始終孑然一身。在此期間，出手闊綽、瀟灑大方的男人權(quán)藤（南城竜也 飾）對(duì)她展開(kāi)猛烈的愛(ài)情攻勢(shì)。在玫瑰芳香的熏陶下，咲漸漸喜歡上了權(quán)藤，并答應(yīng)與之外出約會(huì)。誰(shuí)知約會(huì)當(dāng)晚，咲即遭對(duì)方無(wú)情羞辱。原來(lái)權(quán)藤是一個(gè)指導(dǎo)愛(ài)好者，他早將咲鎖定為征服目標(biāo)，并設(shè)下連環(huán)圈套引之上鉤。 雖則如此，愛(ài)情之花仍不可抑制在咲的心中綻放。她徹底愛(ài)上了權(quán)藤，朝朝暮暮只望與之纏綿，而在對(duì)方的引導(dǎo)下，咲內(nèi)心的狂野漸漸被釋放出來(lái)。她甘愿成為權(quán)藤的奴仆，無(wú)怨無(wú)悔
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科洛弗悖論
古古·姆巴塔-勞,大衛(wèi)·奧伊羅,丹尼爾·布魯赫,約翰·奧提茲,克里斯·奧多德,阿卡塞爾·亨涅,章子怡,伊麗莎白·德比茨基,羅杰·戴維斯,唐納爾·羅格,蘇珊·克萊爾,肯·奧林,西蒙·佩吉,格雷戈·格倫伯格未來(lái)，人們對(duì)資源的需求越來(lái)越大，可是地球上的資源已經(jīng)不能再滿足人類。于是地球上爆發(fā)了資源危機(jī)，并險(xiǎn)些引發(fā)戰(zhàn)爭(zhēng)。唯一能阻止戰(zhàn)爭(zhēng)的只有空間站上的粒子加速器，如果實(shí)驗(yàn)成功，粒子加速器成功運(yùn)轉(zhuǎn)，那么它就能讓人們用上源源不斷的資源。可是在一次粒子加速器意外事件后，地球整個(gè)消失了，空間站上的宇航員開(kāi)始試圖弄清楚在他們身上發(fā)生了什么。但隨著事情的一點(diǎn)點(diǎn)深入，真相慢慢浮現(xiàn)，更奇怪的事情也隨之出現(xiàn)。
騷亂俱樂(lè)部
杰西卡·布朗·芬德利,娜塔莉·多默爾,山姆·克拉弗林,道格拉斯·布斯,荷麗黛·格蘭杰,馬克斯·艾恩斯,薩姆·里德,湯姆·霍蘭德?tīng)?奧利·亞歷山大,本·施耐澤,托尼·威,弗萊迪·?？怂?馬修·比爾德,Amanda Fairbank-Hynes,澤維爾·阿特金斯 Xavier Atkins,杰克·法辛影片追隨兩位牛津大一新生，Miles（麥克斯·艾恩斯）以及Alistair（《饑餓游戲》男星山姆·克拉弗林），他們加入“騷亂俱樂(lè)部”（Riot Club）的過(guò)程和經(jīng)歷。根據(jù)電視特輯所說(shuō)，騷亂俱樂(lè)部成員不到十人，都是精英中的精英，而要進(jìn)入這個(gè)精英團(tuán)體可不容易，隨后的片段中，Alistair 就喝下了一杯，加了煙頭、蠕蟲(chóng)等各種難以想象的惡心“佐料”的紅酒?！ ∮捌木幾?010年火爆倫敦的劇作“Posh”，騷亂俱樂(lè)部的原型據(jù)說(shuō)是牛津大學(xué)著名的布靈頓俱樂(lè)部（Bullingdon Club），英國(guó)許多政要，包括首相卡梅倫，倫敦市長(zhǎng)鮑里斯·約翰遜都是其中成員。其奢華的晚宴，以及狂暴的“入會(huì)儀式”，比如在學(xué)校餐廳和寢室“打砸搶”等，也同樣出名。
奪命微笑2
娜奧米·斯科特,凱爾·加爾納,德魯·巴里摩爾,羅絲瑪麗·德薇特,盧卡斯·蓋奇,迪蘭·格魯拉,彼得·雅各布森,雷·尼科爾森,勞爾·卡斯提洛,達(dá)芙妮·澤利,邁爾斯·古鐵雷斯-賴?yán)?Zebedee Row,Delphi Harrington,Micaela Lamas,David Peter White一位女歌手在目睹其一位歌迷詭異自盡后，身邊開(kāi)始出現(xiàn)各種奇怪的微笑現(xiàn)象，其歌迷紛紛精神失常，開(kāi)始瘋狂地微笑，對(duì)女歌手窮追不舍。
怪猴
西奧·詹姆斯,塔提阿娜·瑪斯拉尼,伊利亞·伍德,勞拉·門內(nèi)爾,克里斯蒂安·康佛瑞,薩拉·萊維,羅漢·坎貝爾,科林·奧布萊恩,Corin Clark,奧斯古德·珀金斯,Danica Dreyer,Kingston Chan,Dianne Greenwood,齊亞·牛頓當(dāng)雙胞胎兄弟哈爾和比爾在閣樓上發(fā)現(xiàn)父親的舊猴子玩具之后，他們周圍開(kāi)始發(fā)生一系列可怕的死亡事件。兄弟倆決定把猴子扔掉，繼續(xù)他們的生活，但多年來(lái)卻越來(lái)越疏遠(yuǎn)。但當(dāng)神秘的死亡再次開(kāi)始時(shí)，兄弟倆必須重新團(tuán)結(jié)起來(lái)，找到一種方法來(lái)徹底消滅這只猴子，以免它奪走所有與他們親近的人的生命。
卡薩諾瓦1976
唐納德·薩瑟蘭,蒂娜·奧蒙特,Cicely Browne,卡門·斯卡爾佩特,Clara Algranti,Daniela Gatti,瑪格瑞斯·克里蒙地,奧林匹婭·卡爾立斯,Silvana Fusacchia,切斯蒂·摩根,Leda Lojodice,Sandra Elaine Allen,Clarissa Mary Roll,丹尼爾·埃米爾福克,Luigi Zerbinati,Hans van de Hoek,杜德里·沙頓,約翰·卡爾森,雷吉·納爾德,芭芭拉·斯蒂爾,弗朗切斯科·德羅薩,Harold I意大利導(dǎo)演費(fèi)德里克．費(fèi)里尼的中期經(jīng)典作《八部半》是其成熟高峰期作品，此后開(kāi)始走向糜爛而至腐敗，偏于肉欲放縱和自我沉溺，像《費(fèi)里尼之薩蒂尼康》（六九年）和本片，都是糜爛頹廢的出色力作。本片反映了十八世紀(jì)基督道德不振后的上流腐化放縱，費(fèi)里尼盡情借題發(fā)揮，展現(xiàn)出精英文藝在人欲橫流下的腐爛情態(tài)。大情人卡薩諾華是在情場(chǎng)屢戰(zhàn)屢勝的“性斗士"，不斷獵艷，還參加造愛(ài)競(jìng)賽。但這大情人苦于人人只重他的性愛(ài)能力，不重視他經(jīng)世濟(jì)民治國(guó)的才學(xué)。而且女人們對(duì)他都“有性無(wú)愛(ài)"，當(dāng)他衰老得失去性魅力之后，就只能把一個(gè)機(jī)械女人當(dāng)作夢(mèng)中情人，很可悲可憐。
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.