新金瓶梅劇集

★ 6.1 播放：59萬(wàn) 更新：2026-05-13
主演： 未知/

　　清河縣是一個(gè)地處偏遠(yuǎn)的小縣城，西門(mén)慶（單立文 飾）風(fēng)流成性，貪婪狂妄，只要是他想要得到的東西，無(wú)論使用怎樣的手段都要得逞。某日，西門(mén)慶看上了武大郎（林國(guó)印 飾）之妻潘金蓮（楊思明 飾），被潘金蓮的美貌所吸引的西門(mén)慶聯(lián)手王婆（曾亞君 飾）從中作梗，最終抱得美人歸。 　　之后，武大郎找西門(mén)慶算賬，不僅被其打成重傷，并且最終命喪黃泉。狡猾的西門(mén)慶將殺人的罪名栽贓到了武大郎的弟弟武松（顧冠中 飾）頭上，使得武松被打入了大牢發(fā)配邊疆。而潘金蓮早已對(duì)正直勇敢的武松芳心暗許，為了救心目中的大英雄，她不得不答應(yīng)了西門(mén)慶各種荒淫無(wú)恥的要求，進(jìn)入了西門(mén)府，成為了他的第五個(gè)妻子

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劇情簡(jiǎn)介

　　清河縣是一個(gè)地處偏遠(yuǎn)的小縣城，西門(mén)慶（單立文 飾）風(fēng)流成性，貪婪狂妄，只要是他想要得到的東西，無(wú)論使用怎樣的手段都要得逞。某日，西門(mén)慶看上了武大郎（林國(guó)印 飾）之妻潘金蓮（楊思明 飾），被潘金蓮的美貌所吸引的西門(mén)慶聯(lián)手王婆（曾亞君 飾）從中作梗，最終抱得美人歸。 　　之后，武大郎找西門(mén)慶算賬，不僅被其打成重傷，并且最終命喪黃泉。狡猾的西門(mén)慶將殺人的罪名栽贓到了武大郎的弟弟武松（顧冠中 飾）頭上，使得武松被打入了大牢發(fā)配邊疆。而潘金蓮早已對(duì)正直勇敢的武松芳心暗許，為了救心目中的大英雄，她不得不答應(yīng)了西門(mén)慶各種荒淫無(wú)恥的要求，進(jìn)入了西門(mén)府，成為了他的第五個(gè)妻子

導(dǎo)演精選

RRR

 1920年，英國(guó)總督斯科特和他的妻子凱瑟琳訪問(wèn)阿迪拉巴德的一個(gè)部落，并強(qiáng)行帶走了部落里歌唱天賦異稟的小女孩瑪莉，部落的保護(hù)者比姆（小老虎 飾演）為了救回瑪莉，偽裝成穆斯林。斯科特得知消息后，總督府的底層衛(wèi)兵拉朱（拉姆·查蘭·特哈 飾演）為了升職也同時(shí)為了完成他父親遺愿和他對(duì)部落承諾，主動(dòng)請(qǐng)?jiān)缸约嚎梢詫⒈饶反?。比姆和拉朱因共同拯救了一個(gè)差點(diǎn)葬身火海的小男孩而巧遇，他們并不認(rèn)識(shí)對(duì)方，然而兩人也隱藏了自己的真實(shí)身份，相互聯(lián)系，成為摯友。拉朱在一次調(diào)查中發(fā)現(xiàn)自己的摯友就是總督要逮捕的比姆，他一邊是承載了父親的遺愿和整個(gè)部落的承諾，一邊是自己的摯友，他該如何抉擇…..

掠殺者

　　故事發(fā)生在蘇格蘭一個(gè)名叫英維思的偏遠(yuǎn)寧?kù)o小鎮(zhèn)。夜幕愈加濃重，年輕女警官瑞秋（Pollyanna McIntosh 飾）被鬧鐘喚醒，她有條不紊穿戴整齊，隨后出門(mén)行走在空無(wú)一人的街道中央。在某個(gè)路口，瑞秋目擊不遠(yuǎn)處站著一位老人，但隨后老人被一輛飛馳而來(lái)的汽車(chē)撞到。瑞秋沖上前去，然而并未看到被撞之人，她只得將肇事者凱撒（布萊恩·沃納 Brian Vernel 飾）扭送回警局，與麥克·瑞德警長(zhǎng)（道格拉斯·羅素 Douglas Russell 飾）一同審問(wèn)。稍后凱撒被關(guān)入牢房，而警局的同事也找到了那名神秘且一言不發(fā)的受傷老人?！　×钊穗y以置信的是，老人似乎擁有直抵他人內(nèi)心的能力，同時(shí)也讓對(duì)方暴走瘋狂，這注定是一個(gè)不平凡的夜晚……

等待方舟

　　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.