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家族秘密2025
金惠恩,金范來(lái),金寶侖猿山異聞錄
袁福福,王培祎,王青,王純,邵峰,付宏聲,盧勇,何承熹,宋建霖瘋狂侏羅紀(jì)
梅蘭尼·格里菲斯,簡(jiǎn)·林奇,威廉·鮑德溫邪完再邪
劉丹,羅莽,劉藍(lán)溪,朱客做個(gè)有錢(qián)人
張繼聰,羅家英,吳岱融,朱咪咪,吳肇軒,黎艷瓊洛杉磯之戰(zhàn)
艾倫·艾克哈特,拉蒙·羅德里格茲,威爾·羅斯海爾,科里·哈德里克,吉姆·帕拉克,基諾·安東尼·佩西,尼歐,詹姆斯·廖,布里吉特·莫伊納漢,諾爾·費(fèi)舍,阿德托庫(kù)姆布斯·麥克馬克,布賴(lài)斯·卡斯,邁克爾·佩納,米歇爾·羅德里格茲,小尼爾·布朗,泰勒·漢德雷,喬伊·金,盧卡斯·提爾,Kenneth Brown Jr.,雅丹·古爾德,喬·克里斯特,E·羅杰·米切爾,羅斯·布萊克維爾,蘇西·阿布羅梅特,布蘭迪·科爾曼,大衛(wèi)·詹森,湯姆·希爾曼,莉娜·克拉克,塔琳·薩瑟恩,詹姆斯·D·德弗,Dane Brown,Gra同類(lèi)推薦
星途惡果
基努·里維斯,喬納·希爾,卡梅隆·迪亞茲,馬特·波莫,大衛(wèi)·斯佩德,艾薇·沃爾克,凱雅·基伯,拉弗恩·考克斯,肖拉·阿德烏斯,蘇珊·盧琪,卡里·克里斯托弗,岡冢敦子,Carlos Carrasco,韋爾克·懷特,尼古拉·尼克拉斐,埃文·沙夫蘭,克里斯·里德,Paul Bartholomew,T.C. Amos IV,小羅伊·伍德好萊塢明星Reef Hawk(基努·里維斯 飾)被人以一個(gè)神秘視頻進(jìn)行勒索,形象和職業(yè)面臨崩塌,他必須深入探索自己心中隱藏的惡魔。在多年好友Kyle(卡梅隆·迪亞茲 飾)、Xander(馬特·波莫 飾)和應(yīng)對(duì)危機(jī)的律師Ira(喬納·希爾 飾)的幫助下,Reef展開(kāi)了一場(chǎng)自我反省的旅程,要去補(bǔ)償任何他可能辜負(fù)過(guò)的人,想搞清楚勒索者是誰(shuí)。面臨自己的過(guò)去,才能拯救自己的未來(lái)。
綾音的高踢腿
宮村優(yōu)子,川村萬(wàn)梨阿,西原久美子,大塚明夫,山口勝平女子キックボクシングを題材としたスポ根アニメ。プロレスラーを志望していた三井綾音がキックボクシングで活躍していく姿を描く。女子プロレスラーの豊田真奈美や前川久美子なども実名で登場(chǎng)している。當(dāng)初は全4巻の予定であったが、諸般の事情により2巻で打ち切りとなり、未完で終わった。
追惡
釋小龍,王真兒,劉峰超,劉怡潼山村拐賣(mài)猖獗,警察池峰孤身潛入尋兇,地窖救人、村民暴動(dòng)、夜總會(huì)血戰(zhàn),誓要以暴制暴守衛(wèi)法律公道。
邁克·艾普斯:異想天開(kāi)
邁克·艾普斯Comedian Mike Epps has inked a deal with Netflix for his new special, Delusional, which will premiere on the streamer on January 27.
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.