春風(fēng)

　　這是一部終極警匪拍檔動作喜劇，除了他們并不是真的警察。當(dāng)一對窮途末路的好兄弟選擇以警裝參加了一場化妝舞會后，他們成為了街坊鄰居的大人物。這對新崛起的英雄在面對真實世界的歹徒惡棍及游走黑白的貪污警探時，他們拿起假證件整裝備戰(zhàn)。

哲學(xué)系學(xué)生肖墨到殯儀館實習(xí)，試圖探尋“生死”答案，卻遭遇導(dǎo)師陳輝離奇死亡。村里流傳一口“應(yīng)聲井”可讓人起死回生。陳輝之子死于事故后，陳輝在古井許愿，次日離奇失蹤。肖墨隨神秘殯葬師老白頭返村調(diào)查，老白頭以科學(xué)逐一破解“靈異”現(xiàn)象：井中尸體、養(yǎng)女上吊、濃霧里的鬼打墻等怪事背后皆是精心布局的騙局。當(dāng)執(zhí)念遭遇科學(xué)，謊言被真相撕裂，眾人方知真正的深淵不在井里，而在人心。

　　美聯(lián)社、《生活》雜志等著名媒體都曾報道過1964年的“月光兇殺案”，當(dāng)時小鎮(zhèn)墜入一片恐慌，一到黃昏就全鎮(zhèn)戒嚴(yán)，全副武裝的警察上街巡邏。直到三個月再無襲擊發(fā)生，警察才逐漸撤出。1976年，曾有一部根據(jù)該案件改編的同名影片上映。兩名幸存者描述兇手有六英尺高，頭戴面具，只露出眼睛和嘴巴?！　?014年版《殺出魔鬼鎮(zhèn)》中，連環(huán)兇殺再度開始，面具殺手時隔六十多年重現(xiàn)特克薩卡納，究竟是有人故意模仿，還是有更恐怖的事情暗中醞釀？一個孤獨的高中女生，似乎知曉解開這一切的秘密。

　　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.