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二狗返鄉(xiāng)記
馬燦燦,李棟,胡雙全,柳秉鈺,梁棟,陶源致命玩笑2001
保羅·沃克,斯蒂夫·扎恩,莉莉·索博斯基,布萊恩·雷科內(nèi)爾,吉姆·比弗,特里·倫納德,格溫達(dá)·迪肯,休·達(dá)恩,杰伊·埃爾南德斯,沃爾頓·戈金斯,泰德·拉文,帕特里克·羅伯特·史密斯,Jessica Bowman,Stuart Stone,Basil Wallace,Mary Wickliffe,McKenzie Satterthwaite,Dell Yount,Kenneth White,Luis Cortés,Michael McCleery,Rachel Singer,John Maynard,蒂姆·肖菲勒
埃里卡·弗雷澤,埃里克·庫比亞克,馬蒂·麥克唐納尋女朝圣路
切柯·扎羅內(nèi),比阿特麗斯·阿荷納,萊蒂婭·阿諾,Martina Colombari,Beatrice Abbro,Norberto Morán,David Salinas,杰克·福賽思-諾布爾,Cecilia Gragnani,Llimoo,Marko Salminen,Hossein Taheri,Eduardo Diaz,Carlos Toca,Fanny Gatibelza,Jan Zawisza,Odón Nicolau,Robi Arquette,Lola Perez-Juana,Frances鬼馬智多星
林子祥,麥嘉,泰迪·羅賓,姚煒,曹達(dá)華,岑建勛,曾志偉異形地球
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李丞峰,徐光宇,石兆琪,范雷,姜寒,要武,陳韻錦諸葛四郎-大戰(zhàn)魔鬼黨
王辰驊,蔣鐵城,王希華清算
高捷,姜皓文,侯桐江,湛佳明 Jiaming Zhan,張榮祥 Cheung Wing-Cheung,屈剛,張媛鈺,賈天明,景樂,韓則怡 Zeyi Han,武岳 Yue Wu,張懷公,洪子龍 Zilong Hong,劉浩嵐 Haolan Liu,劉開心 Kaixin Liu時(shí)間里的愛人
安德魯·加菲爾德,弗洛倫絲·皮尤,格瑞斯·德蘭妮,李·布雷斯維特,伊芙·海因德,亞當(dāng)·詹姆斯,道格拉斯·霍奇,艾米·摩根,妮雅姆·庫薩克,露西·布萊爾斯,羅伯特·布爾特,尼基爾·帕爾瑪,凱麗·戈德利曼,希瑟·克蘭妮,馬特·肯納德,薩姆·肯納德,薩羅亞-莉莉·拉特納維爾,勞拉·蓋斯特,瑪拉馬·科利特,蘇·華萊士地平線2024
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第六日
阿諾·施瓦辛格,邁克爾·拉帕波特,托尼·戈德溫,邁克爾·魯克,莎拉·溫特,羅伯特·杜瓦爾克隆技術(shù)在不遠(yuǎn)的未來有了長足的進(jìn)步,但復(fù)制人仍是法理上不可逾越的禁區(qū),政府通過《第六天法》嚴(yán)格禁止克隆人。 飛行員亞當(dāng)(Arnold Schwarzenegger 飾)擁有幸福的家庭,他出于本能的厭惡那些違背自然規(guī)律的基因技術(shù)。亞當(dāng)平時(shí)的工作是和搭檔送游客上雪峰,這天他們?yōu)閷櫸锟寺」镜睦习迩】耍═ony Goldwyn 飾)服務(wù),搭檔頂替亞當(dāng)駕駛卻發(fā)生了意外……回到家中的亞當(dāng)發(fā)現(xiàn)居然有一個(gè)克隆人頂替了自己的位置參加他的生日宴,莫名驚恐之下他又被來路不明的殺手追殺,他很快明白自己成為了寵物克隆公司的人類復(fù)制試驗(yàn)品,做為母體,他面臨被消滅的危險(xiǎn)?! ≡谔油龅倪^程中亞當(dāng)與暴力反對(duì)克隆人計(jì)劃的組織合作,成功潛入寵物克隆公司,并控制了克隆人技術(shù)的負(fù)責(zé)人威爾博士……
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.
超重警官
Sarun Cinsuvapala,Nutjaree Horvejkul,Somyos Matures,Supavitch Nepremwattana,Pramote Pathan,Suphachai Subprasert自從因?yàn)樘肿ゲ坏綋尫硕巧项^條,“阿康”和他三個(gè)朋友就成了泰國警界的恥辱。這四個(gè)胖警察必須在三個(gè)月內(nèi)甩掉肥肉,否則就會(huì)被懲處!當(dāng)美麗的尊巴舞教練“小敏”加入之后,訓(xùn)練變得令人興奮。然而,搶案持續(xù)發(fā)生,一臺(tái)銀行運(yùn)鈔車被搶后損失慘重,歹徒卻沒有留下任何線索。四位警探必須在塑身的同時(shí)偵查犯罪,減肥期限將近,但犯案之謎卻仍未解開。這幾個(gè)超大條的家伙,要如何保住他們的飯碗呢?
請(qǐng)以你的名字呼喚我
艾米·漢莫,提莫西·查拉梅,邁克爾·斯圖巴,阿蜜拉·卡薩,艾斯特·加瑞爾,維克圖瓦爾·杜布瓦,旺妲·卡布里奧羅,安東尼奧·里莫爾迪,埃琳娜·布奇,馬可·斯格羅索,安德烈·艾席蒙,彼得·斯皮爾斯故事發(fā)生在八十年代的意大利里維埃拉,每年夏天,十七歲的少年艾力奧(提莫西·查拉梅 Timothée Chalamet 飾)都會(huì)跟家人一起來此地度假。今年,和他們共享假日時(shí)光的,還有來自美國的奧利弗(艾米·漢莫 Armie Hammer 飾),高大英俊熱情開朗的奧利弗很快就獲得了艾力奧一家人的喜愛。隨著時(shí)間的推移,艾力奧和奧利弗之間漸漸產(chǎn)生了致命的吸引力,但性別和年齡的桎梏讓他們遲遲無法跨出那關(guān)鍵的一步,與此同時(shí),單純善良的少女馬奇婭(艾斯特·加萊爾 Esther Garrel 飾)也向艾力奧奉獻(xiàn)著自己的感情和身體。最終,洶涌的激情沖破了艾力奧和奧利弗之間的防線,兩人開始了一段注定不會(huì)有結(jié)果的戀情。