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5.2 播放:44萬 更新:2026-04-24

模特兒邱玉茹意外目睹不法商人張國強一次爭爭執中殺人。張國強命令職業殺手湯鎮業殺邱玉茹,邱玉茹在被追殺時幸運得到湯鎮宗相救,但歹徒仍然步步進逼,不肯放過。湯鎮宗迫不得以只好帶著邱玉茹東躲西藏。女警探童玲亦追查兇殺案請湯鎮宗交出邱玉茹接受警方保護。最后在歹徒連番追殺下爆發警匪槍戰,警方雖獲得勝利,但湯鎮宗不幸中槍陣亡。   

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模特兒邱玉茹意外目睹不法商人張國強一次爭爭執中殺人。張國強命令職業殺手湯鎮業殺邱玉茹,邱玉茹在被追殺時幸運得到湯鎮宗相救,但歹徒仍然步步進逼,不肯放過。湯鎮宗迫不得以只好帶著邱玉茹東躲西藏。女警探童玲亦追查兇殺案請湯鎮宗交出邱玉茹接受警方保護。最后在歹徒連番追殺下爆發警匪槍戰,警方雖獲得勝利,但湯鎮宗不幸中槍陣亡。   

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張雨綺,立威廉,姚文雪,袁祥仁,彭敬慈,馮勉恒,吳彥祖,李尚正,高寶云

  農村姑娘彩鳳(張雨綺 飾)跟同伴來到一家號稱哈佛畢業生開的診所,希望可以通過整容手術變漂亮,但是整容醫生(吳彥祖 飾)的拙劣表現,令她們無功而返。后來,兩人擠上了開往上海的貨車。來到大城市,人生地不熟,彩鳳卻對大屏幕里的街舞情有獨鐘,原來她也曾經是鄉舞蹈隊的一員。然而,現實的壓力卻讓她只能把夢想暗藏心底。一次偶然的機會,她進入了朗(立威廉 飾)所開的紅星公司,雖然工作是清潔工,但可以有機會接觸到街舞,讓她非常興奮,時常默默練習。朗是公司老板,富家子弟,每天周旋于紅男綠女之間,希望通過街舞大賽幫公司創品牌。他遇到彩鳳后,被她對街舞的執著打動,便提供了一個機會,希望幫她實現夢想。然而,因為一次誤會,令彩鳳傷心地回到了家鄉。她還能有機會站在五光十色的舞臺上實現夢想嗎?

副總統

克里斯蒂安·貝爾,艾米·亞當斯,史蒂夫·卡瑞爾,山姆·洛克威爾,娜奧米·沃茨,艾麗森·皮爾,埃迪·馬森,賈斯汀·柯克,麗莎蓋伊·漢密爾頓,杰西·普萊蒙,比爾·坎普,唐·麥克馬納斯,莉莉·拉貝,謝伊·惠格姆,斯蒂芬·阿德利·葛爾蓋,泰勒·派瑞,杰夫·博斯利,吉利安·阿美娜特,馬修·雅各布斯

 曾拍《大空頭》(The Big Short)聚焦美國次貸危機的導演亞當·邁凱(Adam McKay)日前與派拉蒙簽約,將導演一部講述美國前副總統迪克·切尼(Dick Cheney)故事的傳記片。而布拉德·皮特的“B計劃”制片公司也將繼《點球成金》、《大空頭》后再次與邁凱合作,制作這部電影。迪克·切尼號稱是美國歷史上最有權勢的副總統,他也是現任美國副總統彭斯(Mike Pence)的效仿對象。布什當政八年時間里,表面上切尼是美國的二號人物,但實際上小布什總統(George W. Bush)的很多決定,包括阿富汗戰爭、入侵伊拉克等都是由他定奪的。切尼本人是一個充滿爭議的矛盾體。他一直都是保守黨派,曾為尼克松、福特、老布什政府做過幕僚,后進入哈利伯頓公司當了幾年CEO,然后和小布什一起入主白宮;但他對于同性戀婚姻卻持支持態度,因為他的女兒是一名女同性戀。此外,切尼五次拖延不愿去越戰戰場,卻是個不折不扣的主戰鷹派。亞當·邁凱說:“我一直覺得切尼是個有意思的人物,很想搞清楚究竟是什么在驅動他、他到底信仰什么。所以我們就做了深挖調查,結果令人震驚,切尼堪稱是美國現代史上最有權力的政治人物,他在很大程度上塑造了美國現在的國際地位,而他為了攫取權力所采取的方式也令人瞠目結舌。”亞當·邁凱希望能在2017年春拍攝本片,并在年底上映。目前他正在物色合適的演員人選。亞當·邁凱拍攝《切尼傳》,意味著他之前接手的《壞血》(Bad Blood)項目要往后推遲了。

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耶日·斯圖爾,克里斯提娜·楊達,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·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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百日孤獨

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