奧卡 La orca (1976)
The movie is generally lacking in character development. The film at one point follows the creepiest-looking gangster (Flavio Bucci from the "The Night Train Murders") to his home where he is shacking up with another gangster's wife and her kid, but more than character development this seems to be more an excuse for another sex scene. The Placido character has an interesting flashback of him working on a filthy fishing barge, which is contrasted with a fantasy where he is piloting a yacht. This movie is very class-conscious in the way it has this poor Sicilian boy falling for a rich, northern girl (the Italian title "La Orca" comes from the designer outfit she's wearing). Placido is pretty good here, but this handsome, light-complexioned hunk is not too convincing as a lower-class Sicilian ruffian. As for Neihaus, I can't decide if she is a bad actress, or is just playing a really obnoxious character (she's more Paris Hilton than Patty Hearst). She does get naked several times which, judging from the English, title was the primary consideration.
即刻觀影
劇情賞析
編輯推薦
沉默的鏡像
蒂莫西·赫頓,費(fèi)爾南多·古林·庫弗,米格爾·安赫爾·西爾維斯特這是一部B級(jí)的驚悸片領(lǐng)銜主演的是曾獲得奧斯卡獎(jiǎng)的蒂莫西·赫頓. 歐洲警察特工Tom Brindle(由蒂莫西·赫頓扮演)負(fù)責(zé)調(diào)查Pygmalion的案件,這家伙在 法國(guó)和西班牙殺害了很多女孩,是一個(gè)連環(huán)殺手... @幕后 蒂莫西·赫頓在1980年羅伯特·雷德福(Robert Redford)導(dǎo)演的第一部影片《凡夫俗子》(Ordinary People)中扮演一位企圖自殺年輕人,他敏感、細(xì)致入微出色表現(xiàn)為贏得了包括奧斯卡最佳男配角獎(jiǎng)內(nèi)多項(xiàng)表演獎(jiǎng)當(dāng)時(shí)還不滿20歲
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.
飛越瘋?cè)嗽?/h3>杰克·尼科爾森,路易絲·弗萊徹,威廉·雷德菲爾德,克里斯托弗·洛伊德,威爾·薩姆森,特德·馬克蘭德,布拉德·道里夫,斯加特曼·克羅索斯,邁克爾·貝里曼,彼得·布羅科,穆瓦科·卡姆布卡,威廉·達(dá)爾,喬西普·艾利克,西德尼·拉斯克,凱·李,德懷特·馬費(fèi)爾德,路易莎·莫里茨,丹尼·德維托,菲利普·羅斯,米米·薩奇席恩,文森特·斯卡維利,米斯·斯馬爾,德羅斯·V·史密斯
麥克墨菲(杰克·尼科爾森 Jack Nicholson 飾)為了逃避監(jiān)獄里的強(qiáng)制勞動(dòng),裝作精神異常,被送進(jìn)了精神病院,他的到來,給死氣沉沉的精神病院帶來了劇烈的沖擊。 麥克要求看棒球比賽的電視轉(zhuǎn)播,挑戰(zhàn)了醫(yī)院嚴(yán)格的管理制度,受到護(hù)士長(zhǎng)拉契特(路易絲·弗萊徹 Louise Fletcher 飾)的百般阻撓;麥克帶領(lǐng)病人出海捕魚,振奮了他們的精神,卻讓院方頭痛不已。院方為了懲處麥克膽大妄為、屢犯院規(guī),決定將他永遠(yuǎn)留在瘋?cè)嗽?。生性自由的麥克再也無法忍受瘋?cè)嗽旱纳?,他?lián)合病友,高大的印第安人“酋長(zhǎng)”,開始自己的計(jì)劃:飛越瘋?cè)嗽骸?本片獲1975年第48屆奧斯卡最佳影片,最佳男、女主角,最佳導(dǎo)演和最佳改編劇本五項(xiàng)大獎(jiǎng)。主人公“不自由,毋寧死”的精神在當(dāng)今社會(huì)仍有很大的現(xiàn)實(shí)意義。
狼人2025
克里斯托弗·阿波特,朱莉婭·加納,瑪?shù)贍栠_(dá)·弗思,山姆·賈格,本·普倫德加斯特,扎克·錢德勒,本尼迪克·哈迪,米洛·考索恩,雷·沃納爾,羅伯·馬克布萊德布雷克(克里斯托弗·阿波特 Christopher Abbott 飾)是一名住在舊金山的丈夫和父親。當(dāng)他自己的父親失蹤并被判定死亡之后,他繼承了他位于俄勒岡州鄉(xiāng)下偏遠(yuǎn)地區(qū)的童年老家。當(dāng)他和他事業(yè)有成的女強(qiáng)人妻子夏莉特(朱莉婭·加納 Julia Garner 飾)的婚姻逐漸走向破裂,布雷克就說服夏莉特帶著他們年幼的女兒金潔(瑪?shù)贍栠_(dá)·弗 思 Matilda Firth 飾)一起離開城市,前往他的童年老家度假?! 〉钱?dāng)這一家人在深夜來到這座農(nóng)舍時(shí),他們突然遭到一只看不見的怪獸攻擊,為了逃離危險(xiǎn),他們就躲進(jìn)農(nóng)舍里面,并且將所有入口封住,而那只怪獸則在外面徘徊。當(dāng)他們驚懼地試圖度過漫漫長(zhǎng)夜時(shí),布雷克卻開始出現(xiàn)奇怪的舉動(dòng),而且逐漸變成一種不知名的怪物,于是夏莉特就被迫必須決定:到底是屋內(nèi)的恐怖更致命,還是外面的危險(xiǎn)更可怕?
埃塞爾阿姨的萬圣節(jié)
Chris Cavalier,Melissa Daddio,西恩·邁克爾·格洛里亞,Jason Henne,Rhyssa-Kathryn Marie,Jovanni Mazzaferro,Lisa Mcconnell,Madeleine Murphy,Kierney Nelson,Stephanie Town,Gail Yost鎮(zhèn)上的每個(gè)人都知道老阿姨埃塞爾的故事。據(jù)說她在孩子們的家里制作萬圣節(jié)糖果和南瓜派。埃塞爾姨媽真的是一個(gè)有孩子味道的精神病例嗎?這個(gè)萬圣節(jié),鄰居青少年將找出真相。他們?yōu)榘H麪栆虌寽?zhǔn)備了一些特別的東西。這可能只是某人的最后一個(gè)萬圣節(jié)。
孔雀鎮(zhèn)
基里安·墨菲,艾利奧特·佩吉,蘇珊·薩蘭登,比爾·普爾曼,喬什·盧卡斯,Paul Cram,Virginia Newcomb,Chris Carlson在孔雀鎮(zhèn)的鐵路旁邊,生活著一個(gè)有著灰暗過去的男子——約翰·斯基爾帕(希里安·墨菲 Cillian Murphy 飾),他自幼在母親的淫威下長(zhǎng)大,由此養(yǎng)成了壓抑自閉的性格。在母親去世后,約翰的人格分裂,其內(nèi)心生出象征母性的女子埃瑪。約翰就這樣在男女兩個(gè)身份間轉(zhuǎn)換,過著平靜而扭曲的隱蔽生活?! ∧硞€(gè)清晨,災(zāi)禍突然降臨。一個(gè)火車頭脫軌闖入約翰家的院子,正在晾曬衣物的?,斒艿襟@嚇,并且出現(xiàn)在小鎮(zhèn)人民的面前。人們對(duì)此議論紛紛,約翰則希望盡快將火車頭清除院子,然而政客們卻打算以此作為政治斗爭(zhēng)的砝碼。面對(duì)種種混亂的局面,約翰和?,?shù)男闹薪箲]重重,他們的矛盾也漸次激化……