誘僧

★ 8.2 播放：55萬 更新：2026-05-09

唐初，太子李建成親隨石彥生（吳興國 飾）與秦王李世民旗下大將霍達（張豐毅 飾）交好，二人于郊祭狩獵時邂逅公主紅萼（陳沖 飾），紅萼風情萬種，自此在石彥生心中留下印跡。不久玄武門之變事發(fā)，石彥生早由霍達處得知消息，卻無力改變局勢。太子被殺，石彥生為保石家清白，立誓絕不侍大唐，與五名下屬剃度為僧，隱居寺廟，伺機起兵反對秦王。不久紅萼到訪，一行人在山下的繁華世界流連，始知大勢已去，天下太平。一行人在歸途中被官軍截殺，紅萼死于刀下，石彥生萬念俱灰，尋至一處破廟，得孤老僧人（李名揚 飾）收留，但石彥生終日只被往事糾纏，心苦不得脫。未幾一名酷似紅萼的女子在廟中削發(fā)為尼，再次將石牽回記憶的羈絆 　

在線播放

劇情簡介

唐初，太子李建成親隨石彥生（吳興國 飾）與秦王李世民旗下大將霍達（張豐毅 飾）交好，二人于郊祭狩獵時邂逅公主紅萼（陳沖 飾），紅萼風情萬種，自此在石彥生心中留下印跡。不久玄武門之變事發(fā)，石彥生早由霍達處得知消息，卻無力改變局勢。太子被殺，石彥生為保石家清白，立誓絕不侍大唐，與五名下屬剃度為僧，隱居寺廟，伺機起兵反對秦王。不久紅萼到訪，一行人在山下的繁華世界流連，始知大勢已去，天下太平。一行人在歸途中被官軍截殺，紅萼死于刀下，石彥生萬念俱灰，尋至一處破廟，得孤老僧人（李名揚 飾）收留，但石彥生終日只被往事糾纏，心苦不得脫。未幾一名酷似紅萼的女子在廟中削發(fā)為尼，再次將石牽回記憶的羈絆 　

導演精選

暗魔怨

　　大衛(wèi)（彼得·費辛利 Peter Facinelli 飾）的妻子英年早逝，之后他遇見了名為勞倫（索菲亞·邁爾斯 Sophia Myles 飾）的女子，兩人墜入了情網(wǎng)，勞倫讓大衛(wèi)重新找到了人生的希望和目標。大衛(wèi)和前妻生養(yǎng)了一個女兒取名吉爾（娜塔莉亞·羅蒙絲 Nathalia Ramos 飾），正直叛逆期的她獨自居住在哥倫比亞?！　∧橙眨笮l(wèi)和勞倫踏上前往哥倫比亞的旅途探望女兒，可在途中竟然遭遇了車禍。兩人在暴雨之中找到了一間破舊的旅館棲身，卻在無意之中聽見旅館的地下室里傳來年輕女孩的呼救之聲。正義和道德驅(qū)使大衛(wèi)決定解救這名可憐的女孩，卻不知道他的這一行為將在場的所有人推入了萬劫不復(fù)的深淵之中。

有罪，AI如此宣判

新人法官高遠寺圓（芳根京子飾）每日忙于庭審中的證人詢問、審閱證據(jù)與鑒定報告、檢索判例以及撰寫判決書等工作。某日，圓被委以重任，負責測試性引入法院的AI系統(tǒng)“法神”。當輸入過往審判數(shù)據(jù)后，“法神”瞬間生成的判決書與法官苦心撰寫的文書毫無二致，判決結(jié)果也完全一致。法官們?yōu)楣ぷ餍实娘w躍提升欣喜不已，唯獨圓對“法神”始終心存警惕。 　　圓與臨近退休的法官檜葉共同負責一宗18歲少年刺殺生父的案件。作為審判長的檜葉在開庭前將數(shù)據(jù)輸入“法神”進行判決模擬，AI瞬間給出的判決是“死刑”。 　　對AI能力深感興趣的檜葉。對AI愈發(fā)警惕的圓。當陪審員們也卷入其中時，人們再度直面探尋真相的艱難困境。究竟誰能辨明真相？是AI？是人類？還是??? 　　這部社會派娛樂作品直面當下以驚人速度滲透社會的AI技術(shù)，深刻叩問使用AI的人類應(yīng)有的姿態(tài)！

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.