即刻觀影
劇情賞析
編輯推薦
沖破鐵幕
保羅·紐曼,朱莉·安德魯斯,麗拉·柯卓娃,漢斯約格·費(fèi)爾麥邁克爾（保羅·紐曼 Paul Newman 飾）是一位非常優(yōu)秀的火箭科學(xué)家，同時也是國家重點保護(hù)的珍貴人才。莎拉（朱麗·安德魯斯 Julie Andrews 飾）是邁克爾的助手，同時也是他的未婚妻，某日，兩人共同前往哥本哈根，去參加在那里舉辦的研討會?！ ≡诟绫竟娜兆永?，邁克爾的行為舉止表現(xiàn)的非常的怪異，就連向來能夠理解他的莎拉都感到百思不得其解，他的所有詭異行為只有一個解釋，那就是他要背叛自己的國家，逃往東德。為了弄清楚事情的真相，莎拉開始了對于邁克爾的調(diào)查，哪知道最終，莎拉選擇了和邁克爾一起叛逃。這對夫妻的行為背后，有著不為人知的目的。
挑戰(zhàn)未來3：殘酷獵殺
Sue Price,蒂姆·湯默遜,諾伯特·魏塞爾利用《電子戰(zhàn)場2》留下的片段和一條非常細(xì)的故事線，亞歷克斯再次與1998年在非洲東部的機(jī)器人雇傭兵作戰(zhàn)。這一次，亞歷克斯發(fā)現(xiàn)她有20個半姐妹正在等她回到2077年。中央司令部希望亞歷克斯被活捉并掃描，看看她的DNA是否比正常的DNA更強(qiáng)更有力。但是亞歷克斯可能太苛刻了，不值得去捕捉。
穿普拉達(dá)的女王2
梅麗爾·斯特里普,安妮·海瑟薇,艾米莉·布朗特,斯坦利·圖齊,賈斯汀·塞洛克斯,西蒙娜·阿什利,肯尼思·布拉納,劉玉玲,翠茜·索姆斯,凱萊布·希倫,B·J·諾瓦克,蒂波·費(fèi)德曼,沈雨田,帕特里克·布拉莫爾,蕾切爾·布魯姆,Lady Gaga,寶琳·查拉梅影片直面數(shù)字時代時尚行業(yè)的迭代浪潮，當(dāng)曾經(jīng)指引潮流的時尚圣經(jīng)《Runway》雜志遭遇前所未有的生存危機(jī)，“時尚女魔頭”米蘭達(dá)（梅麗爾·斯特里普 飾）與曾經(jīng)的“職場小白”安迪（安妮·海瑟薇 飾）再度聚首，時尚圈地位將經(jīng)歷大洗牌——昔日的助理艾米莉（艾米莉·布朗特 飾）權(quán)力進(jìn)階成長為奢侈品集團(tuán)高管；安迪也成為獨當(dāng)一面的職場強(qiáng)者。從各自為戰(zhàn)到并肩破局，從過去“被支配”到“掌控話語權(quán)”，角色的身份轉(zhuǎn)變與立場碰撞，更映照出女性在職場成長自我抉擇中的蛻變與力量，啟發(fā)人們重新去探尋關(guān)于夢想、權(quán)力與自我的人生命題。
遇事別沖動
鹿超,宋杰,宋媛一塊寶地遭人惦記、一枚軍功章引賊來、十萬現(xiàn)金不翼而飛，夜半老漢離奇昏迷，三名陌生男子橫躺家中。是陰謀？是誤會？層層烏龍背后，深藏的是榮譽(yù)執(zhí)念與親情渴望。當(dāng)真相揭開，一切竟源于最樸素的執(zhí)念與最陰差陽錯的誤會……榮譽(yù)與親情，最終將如何安放？
好孩子2025
許瑞奇,周智慧,洪慧芳,路斯明,吳清樑,劉怡伶變裝皇后家好與家人疏離，因媽媽罹患失智癥需貼身照顧，才久違回了家。母親記憶力衰退，不斷提起家好童年軼事，耿耿于懷。有次家好忘記卸妝被母親撞見，為安撫她，只好謊稱自己是母親失散多年的女兒，怎料母親信以為真，令家好展開一段療愈原生家庭創(chuàng)傷之旅。到底家好是否可以月圓？王國燊繼《男兒王》又一變裝皇后力作，聯(lián)同新加坡視帝許瑞祺和《花路阿朱媽》洪慧芳，將新加坡變裝皇后Sammi Zhen真實故事搬上大銀幕。
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.