六點(diǎn)半之約

評(píng)分:2.8 播放:35萬(wàn) 更新:2026-05-13
主演: 張宗貴/

陳強(qiáng)本是正當(dāng)青年,衛(wèi)國(guó)父親住院為籌其醫(yī)藥費(fèi)遭老板戲謔,幸其女友月華相助得以解圍。陳強(qiáng)在無(wú)意中認(rèn)識(shí)了殺人王,殺人王見(jiàn)其體質(zhì)不差,訓(xùn)練阿強(qiáng)為殺手,并得遵守殺手規(guī)則,不得結(jié)婚,陳強(qiáng)至此誤入岐途,雖是如此,殺人王深怕陳強(qiáng)會(huì)受月華影響,便起殺意欲殺月華,陳強(qiáng)得知后為救月華與殺人王同歸于盡.

劇情簡(jiǎn)介

陳強(qiáng)本是正當(dāng)青年,衛(wèi)國(guó)父親住院為籌其醫(yī)藥費(fèi)遭老板戲謔,幸其女友月華相助得以解圍。陳強(qiáng)在無(wú)意中認(rèn)識(shí)了殺人王,殺人王見(jiàn)其體質(zhì)不差,訓(xùn)練阿強(qiáng)為殺手,并得遵守殺手規(guī)則,不得結(jié)婚,陳強(qiáng)至此誤入岐途,雖是如此,殺人王深怕陳強(qiáng)會(huì)受月華影響,便起殺意欲殺月華,陳強(qiáng)得知后為救月華與殺人王同歸于盡.

為你推薦

戰(zhàn)國(guó)奇譚妖刀傳劇場(chǎng)版

戶(hù)田惠子,井上和彥,若本規(guī)夫,矢尾一樹(shù),鹽澤兼人,渡部猛

我是臥底2026

鄒兆龍,于榮光,李彥奎,王韜,文東俊,張沙沙,王鉑清

影片講述了反扒民警霍濤接受組織任務(wù),經(jīng)過(guò)嚴(yán)格訓(xùn)練和對(duì)犯罪集團(tuán)深入的背景調(diào)查后,偽裝混跡扒手群中,建立可信身份后成為打入扒手集團(tuán)內(nèi)部,與貝爺斗智斗勇,與貝爺偽裝的小飛互相試探,最終在和局長(zhǎng)司徒強(qiáng)的緊密配合下,幾經(jīng)波折,逐步瓦解盜竊團(tuán)伙,道盡各色警匪人物的故事。

多浪迪總統(tǒng)

卡洛斯·阿雷塞斯,加維諾·迭戈,費(fèi)爾南多·艾斯特索

 A satirical comedy that pokes fun at Spanish social and political stereotypes, featuring parodies of real events and special guest appearances from the political sphere.

邁克爾·杰克遜:巨星之路

賈法爾·杰克遜,尼婭·朗,勞拉·哈里爾,朱利亞諾·瓦爾迪,邁爾斯·特勒,科爾曼·多明戈,喬·吉列特,卡特琳娜·格蘭厄姆,拉倫茲·泰特,德里克·盧克,杰西卡·蘇拉,漢克·諾思羅普,肯德里克·桑普森,約瑟夫·戴維-瓊斯,內(nèi)森尼爾·洛根·麥金太爾,凱林·多瑞爾·瓊斯,邁卡·麥克尼爾,莫妮克·林賽,奧利維婭·塔卡格什,凱蒂·凱

 影片講述邁克爾·杰克遜在音樂(lè)之外的人生旅程,從他以杰克遜五人組主唱之姿被發(fā)掘出驚人天賦的那一刻起,直到他成為一位極具遠(yuǎn)見(jiàn)的藝人,他以無(wú)窮無(wú)盡的創(chuàng)作能力激勵(lì)自己成為全世界最偉大的娛樂(lè)巨星。這部電影同時(shí)呈現(xiàn)邁克爾·杰克遜舞臺(tái)之外的真實(shí)人生,并且重現(xiàn)他早期個(gè)人演藝生涯中最具代表性的經(jīng)典表演,這部電影為觀眾提供最貼近的視角,以前所未見(jiàn)的方式窺探這位流行天王的內(nèi)心世界。他的故事就此展開(kāi)。

大怪獸空中戰(zhàn) 加美拉對(duì)混沌鳥(niǎo)

笠原玲子,上田吉二郎,本鄉(xiāng)功次郎

  毎年夏と冬に怪獣映畫(huà)を公開(kāi)する東寶との直接対決を避けて春休みに公開(kāi)することになった“ガメラ“シリーズ。富士火山帯の活動(dòng)で出現(xiàn)したギャオスは、名古屋を火の海にするが、炎を好むガメラが現(xiàn)れ、陸?海?空を舞臺(tái)に死闘が展開(kāi)される。

不死之人

安東·迪夫倫,哈澤爾·考特,克里斯托弗·李

  邦納博士計(jì)劃通過(guò)更年輕、更健康的人類(lèi)受害者周期性的腺移植來(lái)永生。邦納看起來(lái)大約40歲,他真的104歲了。但是人們開(kāi)始懷疑了,他可能不會(huì)到200歲。

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.