詛咒之湖

　　在圍剿斯克魯人的戰(zhàn)斗中，克里人星際戰(zhàn)隊(duì)成員弗斯（布麗·拉爾森 Brie Larson 飾）不幸成為對(duì)方的俘虜。斯克魯人嘗試探究弗斯的記憶，最終發(fā)現(xiàn)連弗斯本人都不知道的一段往事，進(jìn)而也得知名為溫迪?勞森博士的女子掌握著他們急于得到的時(shí)空引擎。趁對(duì)方不備，擁有強(qiáng)大超能力的弗斯擺脫束縛，逃到了代號(hào)為C-53的地球，而這里也正是她那段失落的記憶的發(fā)生地。未過(guò)多久，神盾局探員弗瑞特工（塞繆爾·杰克遜 Samuel L. Jackson 飾）找上門來(lái)，而緊隨其后的斯克魯人更是引發(fā)了地球人前所未見的大騷動(dòng)。　　在這一過(guò)程中，弗瑞特工意識(shí)到事態(tài)的嚴(yán)重性，并且?guī)椭ニ拐J(rèn)清本來(lái)的自己。倔強(qiáng)的弗斯，終于找到了真正需要保護(hù)的東西……

 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有什么特別的，但是他卻發(fā)現(xiàn)周圍人們的舉止愈加怪異，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，展開末日殺戮……

　　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.