偷了大叔的錢包，結(jié)果被從后門偷了

遇見不同的遇見

 都市“躺平青年”但爽，帶領(lǐng)“突如其來”電視欄目組，突襲暗訪專業(yè)從事借錢為生的老鄉(xiāng)“滾刀肉”吳德，在吳德的引領(lǐng)下，但爽有緣結(jié)識了有財、有貌的“超級卷王”是蒂，未曾想這對歡喜冤家的愛情之路總是遇見不同的遇見，在經(jīng)歷了英雄救美、海景房騙局、P2P理財“深坑”的一系列驚心動魄的故事下，最終花好月圓走在了一起。

飛越瘋?cè)嗽?/h3> 杰克·尼科爾森,路易絲·弗萊徹,威廉·雷德菲爾德,克里斯托弗·洛伊德,威爾·薩姆森,特德·馬克蘭德,布拉德·道里夫,斯加特曼·克羅索斯,邁克爾·貝里曼,彼得·布羅科,穆瓦科·卡姆布卡,威廉·達(dá)爾,喬西普·艾利克,西德尼·拉斯克,凱·李,德懷特·馬費(fèi)爾德,路易莎·莫里茨,丹尼·德維托,菲利普·羅斯,米米·薩奇席恩,文森特·斯卡維利,米斯·斯馬爾,德羅斯·V·史密斯

 麥克墨菲（杰克·尼科爾森 Jack Nicholson 飾）為了逃避監(jiān)獄里的強(qiáng)制勞動，裝作精神異常，被送進(jìn)了精神病院，他的到來，給死氣沉沉的精神病院帶來了劇烈的沖擊。 麥克要求看棒球比賽的電視轉(zhuǎn)播，挑戰(zhàn)了醫(yī)院嚴(yán)格的管理制度，受到護(hù)士長拉契特（路易絲·弗萊徹 Louise Fletcher 飾）的百般阻撓；麥克帶領(lǐng)病人出海捕魚，振奮了他們的精神，卻讓院方頭痛不已。院方為了懲處麥克膽大妄為、屢犯院規(guī)，決定將他永遠(yuǎn)留在瘋?cè)嗽?。生性自由的麥克再也無法忍受瘋?cè)嗽旱纳睿?lián)合病友，高大的印第安人“酋長”，開始自己的計劃：飛越瘋?cè)嗽骸?本片獲1975年第48屆奧斯卡最佳影片，最佳男、女主角，最佳導(dǎo)演和最佳改編劇本五項大獎。主人公“不自由，毋寧死”的精神在當(dāng)今社會仍有很大的現(xiàn)實意義。

尤為明亮的生物

70歲的寡婦托娃·沙利文在索維爾灣水族館做夜班清潔工，三十年前兒子的失蹤一直是她心中的痛。她與館里聰明的太平洋巨型章魚馬塞勒斯建立起奇妙的羈絆，馬塞勒斯總能在她難過時給予無聲的陪伴。與此同時，迷茫的青年卡梅隆·卡斯莫正在尋找自己的生父，他的人生也因這場尋找而逐漸清晰。兩條看似無關(guān)的故事線，因馬塞勒斯的意外發(fā)現(xiàn)慢慢交織。

海底軍艦

　　本多豬四郎監(jiān)督　?。保梗叮衬辏梗捶郑椹`／３５ミリ／東寶　　出演：高島忠夫、小林哲子、田崎潤　　世界征服を狙うムウ帝國の野望を阻むべく、舊日本海軍が極秘に建造を進(jìn)めていた海底軍艦が水中?空中?地中を進(jìn)む。海底軍艦はムウ帝國の守護(hù)神マンダをうち破り遂に心臓部に到達(dá)する！壊滅したムウ帝國の女王の行動も感動的で何度見ても見飽きない不滅のＳＦ映畫。

寒栗第二季

41歲的桑德拉·林德斯特倫失蹤后被發(fā)現(xiàn)遇害，警方在她的數(shù)字足跡中發(fā)現(xiàn)，她已被未知兇手網(wǎng)絡(luò)跟蹤數(shù)月，對方不僅監(jiān)視她的一舉一動，還發(fā)送了帶童謠的威脅視頻。警探納雅·圖林與馬克·赫斯再度聯(lián)手調(diào)查，發(fā)現(xiàn)案件與兩年前17歲少女艾瑪·霍爾斯特的未破兇案手法如出一轍，兩名受害者都深陷離婚與撫養(yǎng)權(quán)糾紛。隨著調(diào)查深入，更多線索浮現(xiàn)，兇手的“捉迷藏式獵殺”游戲仍在繼續(xù)，兩人被迫直面案件背后的陰暗真相。

陰陽鏡

宋真宗晚年，青春年少的包拯和好友公孫策，一同破獲一起塵封多年冤案。女主角月亮十多年前，全家被奸人所害，為了翻案，打聽到傳聞中陰陽鏡能斷是非真假，于是去墓地盜取，結(jié)果觸碰機(jī)關(guān)導(dǎo)致展昭被困，為了將其解救，必須破解地穴里的各種機(jī)關(guān)算術(shù)。一籌莫展的月亮剛好遇到聰慧過人的包拯，巧設(shè)伎倆利用鬼怪傳說，想引包拯去地穴救展昭。但包拯心中秉持正義、公平，從不相信鬼怪傳說，救出展昭后，月亮拿到陰陽鏡后，坦白自己一家遭奸人所害的事實，兇手還在逍遙法外。為了翻案包拯，利用陰陽鏡的傳說，使得案件重演，兇手心緒恐懼坦白從寬，認(rèn)罪伏法。從此，年少的包拯一舉成名，所代表的公平、公正和正義的形象，慢慢被民眾熟知，被民眾所擁戴。

等待方舟

　　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.