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日掛中天
辛芷蕾,張頌文,馮紹峰,薛媛媛,喬琳凱七年很癢
劉青云,應(yīng)采兒,劉嘉玲,安志杰,蔣怡禁果
莉莉·萊因哈特,羅拉·董,加布里埃爾·尤尼恩,維多利亞·佩德雷蒂,亞歷山德拉·希普,大衛(wèi)·皮納德,奧斯汀·鮑爾,艾瑪·張伯倫,查理·亨利·拉爾森,西德哈特·沙瑪,海莉·莎莫,Caroline Vartanian,喬丹·杜阿爾特,Jeff Sinasac,Katherine Cruz約瑟夫·門(mén)格勒的消失
奧古斯特·迪赫,達(dá)娜·赫弗斯,布爾格哈特·克勞斯納,安東·利特維諾夫,海因茨·K·克拉蒂格,馬克西米利安·梅耶-布雷澤內(nèi)德,Carlos Kaspar,阿麗娜·利特維諾娃,Tetiana Lytvynova,David Ruland,Rodrigo Costa Pereyra,Diana Stepanova,Santino Lucci,Ramiro Lucci母親2020
長(zhǎng)澤雅美,奧平大兼,阿部隆史,郡司翔,夏帆,皆川猿時(shí),仲野太賀,木野花,土村芳,荒卷全紀(jì),大西信滿,淺田芭路不倫之戀
帕特里克·迪瓦爾,阿里爾·貝西,莫里斯·羅內(nèi),杰納維夫·馬尼奇,莫里斯里什,瑪莎·梅赫勒,羅絲·蒂埃里,Michel Berto,亨利-雅克·于埃,雅克·里斯帕爾,納塔莉·貝伊,妮可·加西亞,Alan Adair,莫里斯·比羅,皮埃爾·科索,伊維斯·皮尼奧,Joseph Michael Roth,Max Vialle同類推薦
奧賽羅
謝爾蓋·邦達(dá)爾丘克,Irina Skobtseva,Andrei Popov奧賽羅(謝爾蓋·邦達(dá)爾丘克 Sergei Bondarchuk 飾)是驍勇善戰(zhàn)的大將軍,元老的女兒苔絲狄蒙娜(伊琳娜·斯科布采娃 Irina Skobtseva 飾)愛(ài)上了他,但因?yàn)閵W賽羅是一名黑人,所以兩人的婚事遭到了元老的反對(duì)。不愿意就此放棄這段感情的兩人決定私定終身,這個(gè)秘密被一直嫉妒奧賽羅的旗官伊阿古(安德烈·波波夫 Andrei Popov 飾)給暗中偷聽(tīng)到了,于是伊阿古決定破壞這段姻緣。哪知道伊阿古的搗亂反而促成了這段婚事。 伊阿古并沒(méi)有善罷甘休,奧戴羅和苔絲狄蒙娜結(jié)婚之后,伊阿古通過(guò)偽造定情信物的手段開(kāi)始挑撥這對(duì)夫妻之間的感情。占有欲極強(qiáng)的奧賽羅很快就走進(jìn)了伊阿古設(shè)置的圈套之中。
白天是阿波羅,晚上是雅典娜
吉澤姆·比爾根,梅利·杜澤恩利,巴里斯·戈內(nèi)嫩,內(nèi)拉·卡亞巴西,拉爾·曼蘇爾,德尼斯·圖爾卡利,塞倫·烏柴爾,埃茲吉·切利克德芙尼(Defne)前往古老的地中海城市西戴(Side),在那里遇到了一位革命者、一個(gè)妓女、一位女祭司以及其他神秘人物。在他們的指引下,她開(kāi)始尋找拋棄她的母親。這部由充滿潛力的女導(dǎo)演艾米妮·耶爾迪勒姆(Emine Yildirim)執(zhí)導(dǎo)的處女作,以西戴為背景。西戴是古希臘的一個(gè)殖民地,曾是位于今日安塔利亞附近的繁榮港口城市。電影《日為阿波羅,夜為雅典娜》標(biāo)題中的兩位希臘神祇分別是理性之神太陽(yáng)神阿波羅和智慧、手工藝及戰(zhàn)爭(zhēng)女神雅典娜。這部影片是一部充滿奇幻色彩的劇情片,講述了女性與男性、生者與死者的故事。
霹靂大喇叭
洪金寶,張學(xué)友,王祖賢,姜大衛(wèi),馮淬帆,秦沛,胡楓,林正英,元華,元奎,張堅(jiān)庭陳文?。ê榻饘?飾)和張定其(張學(xué)友 飾)只是警隊(duì)中的無(wú)名小卒,卻在機(jī)緣巧合之下被指派到神探(姜大衛(wèi) 飾)手下助其偵破“千面人”之案。沒(méi)想到,一場(chǎng)意外中神探不幸喪生,可是,心愿未了的他顯然不愿就此歸去,而是化為冤魂,纏上了陳文俊和張定其兩人,要他們破案為自己報(bào)仇?! ∩裉酵{陳文俊,若不幫他報(bào)仇,就要破壞他和女友喬娜(王祖賢 飾)之間的姻緣。經(jīng)不住神探的死纏爛打和卑鄙威脅,個(gè)性膽小怕事的陳文俊只能答應(yīng)下來(lái)。就這樣,陳文俊和張定其開(kāi)始了對(duì)案件的追查,在神探的暗中幫助下,他們最終將罪犯捉拿歸案,陳文俊和喬娜亦有情人終成眷屬。
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.
死亡陰影
Gilles Barret,Margaux Devy,Sylvain Dubois法國(guó)青年克里斯(Fabian Wolfrom 飾),在他11歲時(shí)某個(gè)夜晚,哈雷彗星接近地球。似乎冥冥中有所感應(yīng),他的父母在當(dāng)晚死于非命。此去經(jīng)年,哈雷彗星再度接近地球,全世界人民寄予極大關(guān)注,各種或科學(xué)或玄學(xué)的猜測(cè)層出不窮,熱議紛紛。對(duì)克里斯來(lái)說(shuō)這顆星體的造訪似乎沒(méi)有什么特別的,但是他卻發(fā)現(xiàn)周?chē)藗兊呐e止愈加怪異,人們?cè)絹?lái)越無(wú)法控制自己的情緒,各種暴力和暴動(dòng)此起彼伏,在所謂的末日為降臨前,眾生已經(jīng)陷入絕望的瘋狂之中。彗星蒞臨當(dāng)晚,克里斯受邀參加一個(gè)狂歡派對(duì)。誰(shuí)知未過(guò)多久場(chǎng)面便完全失控,各種嗜血惡徒出籠,展開(kāi)末日殺戮……