即刻觀影
劇情賞析
編輯推薦
鏡中人
英迪婭·埃斯利,詹森·艾薩克,佩內(nèi)洛普·米契爾,米拉·索維諾,哈里森·吉爾伯特森,克里斯汀·哈里斯,亞當(dāng)·哈蒂格,康納·彼得森,辛蒂·邁斯科十八歲女孩瑪麗亞（英迪婭·埃斯利 飾）經(jīng)常受到同學(xué)欺負(fù)，使她變得自卑，害怕。有一天她發(fā)現(xiàn)鏡子里的另一個她，艾蘭。 艾蘭（英迪婭·埃斯利 飾）既勇敢又無畏，幫助瑪麗亞開啟了復(fù)仇之路......
愛寵
多米尼克·莫納漢,克塞尼亞·索羅,詹妮特·麥柯迪,達(dá)旺·麥克唐納,內(nèi)森·帕森斯,珍妮特·桑,加里·J·滕尼克利夫,丹尼斯·加西亞,約翰·羅斯·鮑伊,肖恩·布萊克默,艾琳·羅森,阿拉斯代爾·馬丁,哈莫尼·麥克利戈特,瑞秋·魯濱遜《峰回路轉(zhuǎn)》卡里斯陶倫斯執(zhí)導(dǎo)，《魔戒三部曲》多明尼克莫納罕、《黑天鵝》柯賽妮亞索羅主演。BDSM結(jié)合籠女監(jiān)禁題材，驚狂混血出擊，讓我養(yǎng)你一輩子！ 超有愛心的賽斯在動物之家工作，他每天細(xì)心呵護(hù)小動物，對于只有基本工資的日子也甘之如飴。某天她在公車上巧遇學(xué)生時期的暗戀對象荷莉，她清新亮麗的氣質(zhì)讓賽斯內(nèi)心中沉寂多年的欲望再次被喚醒?！ ≠愃蛊髨D要拉近與荷莉之間的距離，可是郎有情妹無意。沒想到兩人久別重逢的首次見面，荷莉竟然失去意識，清醒后她發(fā)現(xiàn)自己衣不蔽體，還被關(guān)在動物之家地下室的鐵籠之中！愛到失去理智的賽斯口口聲聲表示會這么做，一切都是因?yàn)樯類壑衫颉Ｈ欢?，被受困籠中的荷莉也不是省油的燈，各懷鬼胎的兩人隨即展開驚悚離奇的對峙…… 經(jīng)典的貓捉老鼠游戲，刻畫出爾虞我詐的主從之戰(zhàn)。究竟誰是主人、誰是寵物，不到最后誰也不知道！
真正的痛苦
杰西·艾森伯格,基南·卡爾金,福田知盛,詹妮弗·格雷,庫爾特·埃賈萬,麗莎·薩多威,丹尼爾·奧雷斯克斯,埃洛拉·托爾基亞,班納·艾森伯格,彼得·查赫尼?；?雅各布·貢索夫斯基,奧爾哈·博索瓦,克日什托夫·雅什查克,馬雷克·卡斯普日克,雅各布·普魯斯基為紀(jì)念逝世的奶奶，許久未見的堂兄弟大衛(wèi)與班吉相約前往波蘭參加導(dǎo)覽團(tuán)，也順道探訪奶奶的老家。一路上，班吉有話直說、率性風(fēng)趣的性格迅速與同團(tuán)人士拉近距離，令木訥拘謹(jǐn)?shù)拇笮l(wèi)既焦慮又羨慕，壓抑已久的情緒日益沸騰。然而，隨著旅途種種安排不斷挑動班吉的敏感神經(jīng)，他的狂放不羈似乎逐漸走向失序，大衛(wèi)試圖息事寧人，但內(nèi)心的不安卻席卷而來。這趟尋根之旅，能否解決彼此心底難以言說的痛楚？
喋血密令
李琦,馬心怡,徐箭,孫學(xué)增,來鈺明正德年間，禁衛(wèi)百戶耿烈因欽差被殺貶為捕頭。此時寧昌府發(fā)生連串命案，波及寧王壽宴，耿烈奉命追查。為寧王獻(xiàn)畫富商被毒殺，刺殺欽差的女殺手再次出現(xiàn)，這一切讓耿烈意識到寧昌府醞釀的風(fēng)暴，將會改變大明的朝局。
父母姐弟
凱特·布蘭切特,亞當(dāng)·德賴弗,夏洛特·蘭普林,薇姬·克里普斯,湯姆·威茲,莎拉·格林,弗朗索瓦茲·勒布倫,茵蒂婭·摩爾,盧卡·薩巴,馬伊姆·拜力克疏離多年的手足被迫重逢，直面未解的心結(jié)，重新審視與情感疏離的父母之間緊張的關(guān)系。
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.