一見先生

　　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.

掙爆與大口環(huán)這對妙探﹐在一宗集團(tuán)搶劫案中立功﹐調(diào)職風(fēng)化群組﹐掙爆更因此升職沙展。兩人因在辦案中受獎﹐決定換車加薪﹐因而認(rèn)識車行太子爺KK仔從而引出一波未平﹐一波又起……

　　1989年，位于賓夕法尼亞州的東部礦區(qū)麥諾斯維爾小鎮(zhèn)，年僅6歲的小男孩馬丁·布里斯托爾（蔡斯·佩哈切克 Chase Pechacek 飾）被人綁架。在此后的5年里，馬丁身在何處？又經(jīng)歷了什么？無人知曉。　　1994年的一天，父母雙亡的少女艾莉森·米勒（亞歷珊德拉·達(dá)達(dá)里奧 Alexandra Daddario 飾）隨叔叔喬納森（邁克爾·比恩 Michael Biehn 飾）搬到麥諾斯維爾居住。這個出身大城市的女孩漸漸適應(yīng)了這個偏遠(yuǎn)鄉(xiāng)間的生活，也結(jié)識了帥氣的男孩威廉（諾蘭·吉拉德·范克 Nolan Gerard Funk 飾）。但是新生活的陽光很快退去，那幢廢棄的農(nóng)舍引起了艾莉森注意。她不知道，失蹤已久的馬丁也在黑暗中注視著他，這個男孩過早地見識了事件最為殘酷與血腥的一面……

　　本片講述了一位在東京落魄的美國演員的故事。他受雇于一家日本家庭租賃公司，充當(dāng)門面上的“美籍演員”，由此通過扮演他人生活中的各種角色，踏上了一段意想不到的自我發(fā)現(xiàn)之旅。