納粹女魔頭四部曲

評(píng)分：5.7 播放：78萬(wàn) 更新：2026-05-10
主演： Dyanne Thorne Max Thayer Jerry 

納粹女魔頭四部曲全集之后臺(tái)總管暫無(wú)內(nèi)容二戰(zhàn)結(jié)束，時(shí)間流逝，伊莎尋到了新雇主，受命于一個(gè)主人喜愛(ài)進(jìn)口少女當(dāng)作xing奴的阿拉伯家族。一位美國(guó)佰萬(wàn)富翁的女兒，一位電影明星和一位嫵媚動(dòng)人的馬術(shù)教練都是祂的最新?tīng)奚贰?

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　　影片靈感來(lái)自迪士尼樂(lè)園同名游樂(lè)設(shè)施，“在一個(gè)讓人不寒而栗的鬼屋中進(jìn)行一趟令人毛骨悚然的旅行，有幽靈、食尸鬼和超自然力量帶來(lái)的驚嚇”，聚焦一個(gè)搬進(jìn)了這棟豪宅的家庭。

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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.

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　　瑪拉（裴淳華 Rosamund Pike 飾）經(jīng)營(yíng)著一家監(jiān)護(hù)人公司，她專門尋找身體情況欠佳同時(shí)又無(wú)依無(wú)靠的老年人下手，通過(guò)并不是那么合法的手段令自己成為他們的法定監(jiān)護(hù)人，將他們送進(jìn)療養(yǎng)院，之后便可接手和變賣他們的財(cái)產(chǎn)和房產(chǎn)，再將所得據(jù)為己有。　　某日，瑪拉將下一個(gè)“吞噬”的目標(biāo)放在了一位名叫珍妮弗（黛安娜·維斯特 Dianne Wiest 飾）的老太太身上，經(jīng)調(diào)查，珍妮弗沒(méi)有任何的親人，同時(shí)又擁有著價(jià)值不菲的遺產(chǎn)，簡(jiǎn)直就是他們的最佳“肥羊”。在一番操作之后，珍妮弗被沒(méi)收手機(jī)關(guān)進(jìn)了療養(yǎng)院，但此時(shí)的瑪拉和她的戀人兼合伙人弗蘭（艾莎·岡薩雷斯 Eiza González 飾）并不知道的是，她們?nèi)巧狭艘粋€(gè)不該惹，也不能惹的人。

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