被阿姨誘惑的鄰家小伙子

　　小有名氣的驚悚小說作家苔絲·索恩（瑪麗亞·貝羅 Maria Bello 飾）受邀去某地進(jìn)行演講，人生地不熟的她迷失方向，汽車還在某個根本沒有手機(jī)信號的地方爆胎。當(dāng)她手足無措的時候，孔武健壯的卡車司機(jī)（威爾·哈里斯 Will Harris 飾）出現(xiàn)答應(yīng)幫她更換輪胎，然而這個暴徒見色起意，對苔絲進(jìn)行了殘酷的虐待，還把她丟在了一個浸泡著三四具女性尸體的坑道中。僥幸逃命的苔絲一路跌跌撞撞回到家中，她曾嘗試報警，卻最終三緘其口。在接下來的日子里，苔絲從混亂中理清頭緒，她決定用自己的方式向那只禽獸展開報復(fù)……　　本片根據(jù)斯蒂芬·金的短篇小說改編。

　　2027未來世界，恐怖主義彌漫全球，科技發(fā)達(dá)，使人類神經(jīng)系統(tǒng)可用人工磁片來取代。機(jī)器人為達(dá)到蠶食人類的大陰謀，先了綁架國際間各國領(lǐng)袖，繼而派遣機(jī)器人復(fù)制繁殖以取代世界統(tǒng)治者的霸權(quán)。洛杉磯警界的杰出人物「雨水艾力」（奧利佛·顧納飾）察覺這項陰謀，他尋求各種行動以阻止機(jī)器人的野心，而艾力身上卻已被植入百分之十三人工器官……

　　一把刀守一個信念，老兵從九龍鎮(zhèn)殺向白馬關(guān)，冒死押送之路步步藏殺機(jī)。絕境中他背水一戰(zhàn)，縱敵人環(huán)伺，仍以諾言為重，且看其如何突出重圍！

　　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.