兩個(gè)小姐姐解鎖你沒玩過的新技能

海底兩百里

　　美國海軍上校尼爾遜（沃爾特皮金飾）領(lǐng)導(dǎo)潛艇海景號在北極下探測時(shí)，地球突生危機(jī)，大氣層被一股大火燃燒，令地球極速升溫，地球上干旱無雨，頓誠人間煉獄。科學(xué)家主張紛歧，尼爾遜決定由海景號發(fā)射核子飛彈，讓其在大氣層外爆炸以期熄滅大火，令地球降溫。為求能夠快速解決這個(gè)問題，尼爾遜毅然由船員自愿選擇是留在船上還是繼續(xù)前進(jìn)，但是在全世界都沒有辦法的情況下，只有聽命于尼爾遜的這個(gè)計(jì)劃了……

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.

那個(gè)人在想什么事情

　　The main character is Dr. Max Holst, a successful neurosurgeon. One day an intense little man named Steinmetz shows up, who has the real ability to create objects out of thin air, using only his mind. As no one believes him at first, he is held at a ward for mental patients, but manifests the key to his door and escapes. As he has a special interest in Dr. Holst, Steinmetz subsequently invites Holst to his large mansion, which is full of expensive paintings and sculptures, and proves to him that he can in fact materialise objects. Steinmetz’s abilities are evolving by leaps and bounds, and is progressing from being able to create objects only to being able to create living things. His ultimate ambition is to be able to create a human being. He tells Dr. Holst that if he will only perform a certain brain operation on him, Steinmetz will become able to attain his goal. He’s got all the necessary equipment set up in his basement. Dr. Holst, however, is too spooked by the whole thing to agree to this mad scheme, and refuses. Steinmetz then sets about manipulating Holst’s life, to pressure him into performing the operation. By then Steinmetz has become able to create a temporary human being, and in the hope that he can perhaps make his own creation perform the operation, he manifests a doppelganger of Dr. Holst. This double proceeds to take over Dr. Holst’s life, creating chaos for him professionally and personally. And then Dr. Holst starts fighting back. The ending has the dual virtue of being both unexpected and satisfying.

扭曲

　　32歲的勞倫·柯倫（克里斯蒂娜·里奇）和丈夫羅素（布萊登·佛雷切）搬進(jìn)了設(shè)備先進(jìn)齊全的新公寓。剛剛因?yàn)槭ズ⒆佣馐芰诵睦韯?chuàng)傷患躁郁癥的勞倫對公寓的安保監(jiān)控系統(tǒng)很滿意，但隨后發(fā)現(xiàn)公寓里有些不對勁，她懷疑酒店的擁有者暗中非法操控住在其中的用戶，但她的丈夫認(rèn)為這些都是她的想象。勞倫獨(dú)自開始調(diào)查建造公寓的公司，并雇傭了一個(gè)幫手-陰謀論者弗儂·沙斯菲爾德（約翰·庫薩克）。弗儂認(rèn)為這間公寓是個(gè)試驗(yàn)場所，里面的住戶是個(gè)巨大洗腦陰謀的小白鼠。隨著調(diào)查深入，勞倫也遇到了生命威脅……

午夜場

　　《午夜場》講述了戲院經(jīng)理林梅（范夢飾演）與戲院大小姐子君（馮言彥飾演）是無話不談的閨蜜，在子君即將結(jié)婚前，無意間發(fā)現(xiàn)林梅好似和自己的未婚夫家?。ㄠ囅扔铒椦荩┯兄撤N不為人知的關(guān)系。某一天，在他們工作的三十七號古宅內(nèi)，一場備受關(guān)注的木偶劇目正在上演，而神秘的木偶附身也即將開始。隨著現(xiàn)實(shí)詭異畫面與林梅的夢境交織，令人意想不到的真相浮出水面！

會長的貼身?；?/h3>馮芷墨,熊蘇藝

　　單均銘為了保護(hù)母親一手創(chuàng)辦的成人皇家藝術(shù)學(xué)院不被拆遷建成商業(yè)街，收購了學(xué)校。準(zhǔn)備對學(xué)校進(jìn)行維護(hù)加建，卻遭到了誤以為他要拆學(xué)校的顧婉婉的強(qiáng)烈阻攔。單均銘為了不讓顧婉婉影響他對學(xué)校的改造進(jìn)度，強(qiáng)行將顧婉婉留在身邊，讓她沒時(shí)間搗亂。 兩人卻在相處的過程中互相吸引，單均銘發(fā)現(xiàn)自己愛上了顧婉婉，準(zhǔn)備向顧婉婉告白。 告白前夕，單均銘意外發(fā)現(xiàn)了顧婉婉就是五年前那個(gè)戲弄了他的感情，還間接害他聽力受損，不得不放棄學(xué)習(xí)音樂的人。單均銘決定報(bào)復(fù)顧婉婉。 直到顧婉婉傷心離開，單均銘才發(fā)現(xiàn)不管是五年前還是五年后，一切的事情，都是莊美言的設(shè)計(jì)，他誤會了顧婉婉。單均銘恍然大悟，最終找回了顧婉婉。