激情艾米
近30的猶太人,寫了一本很成功的小說名叫《如何愛》,內(nèi)容是幫助那些沒有戀愛過的女人尋找真愛。其實她自己也是獨守空閨4年,而且似乎從來沒有達到過那種飄飄欲仙的境界。她從她的朋友,同事,家人,甚至她懺悔的牧師那里得到了很多的關(guān)于“愛”的建議,所以當(dāng)她開始和LA的帥哥Matthew Starr約會時,心理非常矛盾,到底這些關(guān)于“愛”的理論是不是在每個人身上都適用呢
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擂臺兄弟
阿俊·阿肖坎,羅尚·馬修,維沙克·奈爾 ,Ishan Shoukath,Carmen S Mathew,Siddique,Syamaprakash M.S.,Thezni Khan,拉克施米·麥儂,Mammolotti悲情槍手
周里京,何麟,高穎,潘婕,黃達亮,談鵬飛,譚增衛(wèi),陳偉國鬼屋脫身
Jaclyn Betham,絲柯·泰勒-考普頓,蘭德里·阿爾伯特,萊恩·托冉,Noah Lowdermilk,Jamil Walker Smith,Lane Caudell,Ben Deschaine,Chrystopher Ryan Johnson,Kynsleigh Queen,Liz Zwiebel拍得不錯
方中信,周柏豪 ,張兆輝,蔡卓妍,盧海鵬,林雪,李燦森,應(yīng)采兒,苗僑偉,宣萱秘密會議
拉爾夫·費因斯,斯坦利·圖齊,約翰·利思戈,盧西安·姆瑟馬蒂,賽爾喬·卡斯特利托,伊莎貝拉·羅西里尼,布萊恩·F·奧博恩,卡洛斯·迪赫茲,梅拉布·尼尼澤,托馬斯·洛伊布爾,亞采克·科曼,布魯諾·諾維利,羅尼·克拉默,瓦萊里奧·達·席爾瓦,約瑟夫·邁德爾,文森佐·法伊拉,加里克·哈根,馬達夫·夏爾馬,洛里斯·洛迪,羅伯托·西特蘭凱歌香檳
娜塔莎·奧基弗,海莉·貝內(nèi)特,湯姆·斯圖里奇,本·邁爾斯,里奧·蘇特,薩姆·賴?yán)?保羅·瑞斯,卡拉·西摩,克里斯·拉金,安森·布恩,伊恩·克寧漢,塞西莉·克利夫,Joseph Rapp,David Emmanuel同類推薦
畫筆與旋律
Laura Chiatti,Salvatore Langella,Filippo Nigro馬蒂亞是一個畫家,與一位有抱負的歌手同居,他靠藝術(shù)市場的變化來謀生。
血觀音
惠英紅,吳可熙,文淇,柯佳嬿,陳莎莉,丁強,劉尚謙,林志儒,王月,溫貞菱,王偉六,陳珮騏,尹昭德,大久保麻梨子,巫書維,顏毓麟,劉越逖,傅子純,陳武康,施名帥,秀蘭瑪雅,應(yīng)朗豐,李銓棠家一脈花開,將軍身故,棠夫人站在家族宗法寶塔上,也就立足彌陀鄉(xiāng)政治的頂端。黑白兩道,茶盞交錯之間,玲瓏心,剔透眼,柔軟身段,霹靂手段,女人天下。大女兒棠寧玲瓏八面,卻懷一股心思幽微,小女兒棠真乖巧聽話,學(xué)著繼承泡茶待客之道,隨棠夫人簾后織手暗操線,青春初豐滿的羽翼,能如何擔(dān)起腥風(fēng)血雨?棠家牽線的土地開發(fā)計劃出現(xiàn)變數(shù),好友議員一家遭滅門慘案,以血掀變,彌陀鄉(xiāng)勢力重新洗牌,暗潮涌動,臺北二十年,大家深宅三代女人,千手染血的觀音,骨與血,治與亂,情欲與權(quán)力層層密謀穿織。
坐穩(wěn)車,泰欣娜
卡蒂·奧廷寧,Kirsi Tykkyl?inen,馬蒂·佩龍帕這是一部寓言般,反浪漫的公路電影,男青年瓦爾特是個裁縫,每天幫著母親縫制衣服,可是他向往外面的世界,于是他乘著母親不備將母親鎖進屋子并偷了母親的錢物找了一個哥們駕車兜風(fēng),在路上遇見了來旅游的泰欣娜和其女友,他們四人結(jié)伴而行,沉默寡言的兩個男人和隨心所欲的兩個女人產(chǎn)生許多 戲劇沖突,他們一起住店,一起聽搖滾音樂會,折騰許久以后,瓦爾特決定回家,回家后他若無其事地坐回縫紉機邊繼續(xù)他的裁縫生涯,仿佛一切未曾發(fā)生過。
點到為止
尹正,潘斌龍,黃才倫,張一鳴,梁超,魏翔,彭昱暢,王成思,宋木子,王韋程,黃允桐,王瑄,蔣詩萌,東靖川,蕭李臻瑱“象形拳”傳人金毛(尹正 飾)在一次比賽中意外躺贏,憑借各種反向操作玩轉(zhuǎn)流量搖身一變成“黑紅頂流”!因此被資本一眼看中,“網(wǎng)紅假大師”金毛決定返鄉(xiāng)組建“表面功夫”團隊接著“忽悠”狂賺2個億!全村人戲精上身,在從心功夫小鎮(zhèn)熱鬧上演了一出精彩好戲!
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,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·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.