家屬 母與姐妹的嬌聲
我不會(huì)讓媽媽或姐姐干涉 風(fēng)花向曾被她視作哥哥而崇拜的Guess Man做出了宣言，現(xiàn)在他卻成了她憎恨的對(duì)象。 然而，他們并不知道自己已經(jīng)被播種了…… 不敢改正，只為讓我在游泳比賽中吞噬健美的四肢 是在學(xué)校的更衣室里穿著泳裝襲擊富香…… 兒子去觀察憂心忡忡的美婆婆乙羽的工作態(tài)度 當(dāng)我在桌子底下強(qiáng)行踩腳時(shí)，看到這個(gè)男人威嚴(yán)的外表和他對(duì)下屬準(zhǔn)確指示的方式，給我留下了深刻的印象。 音葉揭露了丈夫的秘密…… 事實(shí)上，對(duì)他的貞潔動(dòng)搖了美麗婆婆的根基，她阻止了她落入兒子的棍棒...... 無法抑制從身體深處涌上來的疼痛…… 凪咲感覺到身體深處有一種明顯的悸動(dòng)，緊張和恐懼向她襲來……
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太平洋戰(zhàn)場(chǎng)
Jesse Richardson,Ellen Williams,Michael Thomson,James Storer,Leigh Walker,Darrell Plumridge,Samuel Peacock,Katie AndersonThat day is seared into the memory of every human being on the planet: the day the world changed. First came the attack on the Philippines. Within days they spread, as though appearing out of nowhere, striking out at more islands, forging a foothold in the South Pacific. Then came the first attack on U.S. soil - Los Angeles - and the reality became clear: our world was at war once again, but this time with an enemy from beyond our galaxy. Now, months later, the fate of the world hangs in the balance as a mission to strike at a key enemy installation deep in enemy territory goes terribly wrong, and the Marines of the 15th Expeditionary Unit are scattered across the island of New Britain, leaderless, and facing impossible odds. Pacific Theater is the story of those Marines: fresh recruits who journey from their homes across the Pacific to the front lines. It is the story of John Blake, a charming Californian surfer who must find the strength to become a leader, Tracey Gleeson, a physics...
童煞驚魂島
丹尼爾·希梅內(nèi)斯·卡喬,艾邦·摩斯-巴克拉赫,凡妮莎·肖在一個(gè)舒適的季節(jié)，弗朗西斯科（艾邦·摩斯·貝克許 Ebon Moss-Bachrach 飾）和懷有身孕的妻子貝絲（凡妮莎·肖 Vinessa Shaw 飾）來到墨西哥某個(gè)海濱小鎮(zhèn)度假。適值狂歡節(jié)期間，小鎮(zhèn)四周歌舞升平，紙醉金迷，多少青年男女流連忘返。弗朗西斯科渴望尋覓一個(gè)安寧的所在，他找到當(dāng)?shù)氐臐O夫，從對(duì)方手中租下一艘船，打算在附近某個(gè)僻靜的小島安然度過五六天。次日，他和妻子抵達(dá)目的地。那里寂靜無聲，幾乎看不到一個(gè)人影。島上的孩子們偶爾逡巡四周，但無一例外臉上都掛著猙獰冷漠的表情?！ ∥催^多久，令他們毛骨悚然的事情接連發(fā)生。島上的孩子手執(zhí)兇器獵殺成人，期間更發(fā)出令人不寒而栗的笑聲。孩童的殺戮仍在繼續(xù)，弗朗西斯科夫婦能否逃離……
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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.
隱藏殺手
凱爾·麥克拉克倫,邁克爾·諾里一個(gè)異形在美國(guó)流竄，為了得到它想要的，它殺掉所有擋它路的人，并且用他們的身體作為新的藏身之所，它不斷追尋的是生命的能量，然而另一個(gè)借用了一個(gè)死去的FBI探員身體的異形對(duì)它緊追不舍，無數(shù)無辜的人們?cè)谶@場(chǎng)追擊中喪生
靈魂擺渡之風(fēng)華絕代
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