第六感1999

 麥克（布魯斯·威利斯 飾）是著名兒童心理學(xué)家，卻也有始終未能治愈的患者，甚至因此遭到槍擊，這名少年隨后也飲槍自斃。這給麥克帶來(lái)很大心理陰影，一年后他找到另一個(gè)癥狀很像這名患者的男孩柯?tīng)枺ê＠獭W斯蒙 飾），并耐心的做起了他的醫(yī)生。柯?tīng)柌⒉蝗菀捉咏溈诉€是慢慢贏得 了他的信任，得知了柯?tīng)柕拿孛堋Ｔ瓉?lái)柯?tīng)栍兄`異的第六感，可以看到鬼魂。雖然這令人感到難以置信，但麥克在證實(shí)了事情的真相后還是幫助柯?tīng)柦邮芰诉@個(gè)事實(shí)。可是就在問(wèn)題即將得到解決的時(shí)候，麥克卻在柯?tīng)柕囊龑?dǎo)下，發(fā)現(xiàn)了一個(gè)更令人震驚的秘密……

比爾和泰德暢游鬼門關(guān)

　　熱愛(ài)搖滾樂(lè)，一心想贏得大賽的阿比阿弟不小心被另一對(duì)長(zhǎng)得一模一樣的阿比阿弟機(jī)器推冥界。在他們大鬧陰曹地府、暢游天堂之后還拖著死神回到陽(yáng)世，拯救女友的性命···節(jié)奏強(qiáng)烈的熱門歌曲、地獄游歷的驚險(xiǎn)怪譚，還有一對(duì)胡搞蠻纏的活寶兄弟，就已經(jīng)使「阿」片夠新鮮熱鬧了，再加上導(dǎo)演創(chuàng)新的拍攝手法，許多趣味的橋段串連，使本片不論在視覺(jué)效果、技術(shù)處理上皆比上集精進(jìn)，娛樂(lè)效果更有過(guò)之而無(wú)不及。

餓狼傳說(shuō)：滿月殺手

　　曾經(jīng)馳騁戰(zhàn)場(chǎng)的退伍老兵安布羅斯·麥金利（Nick Damici 飾）終究也抵擋不了衰老和死亡的侵襲，妻子早年去世，兒子威爾（伊桑·恩布里 Ethan Embry 飾）兀自忙著事業(yè)，父子關(guān)系雖不冷淡卻也絕非親近，雙目失明的安布羅斯搭乘著兒子的汽車搬入名為克萊森特灣的老年社區(qū)，陪伴他的只有一條忠誠(chéng)的狗狗。搬入當(dāng)晚，住在隔壁的老婦人被一只餓狼模樣的怪獸襲擊身亡，而安布羅斯則經(jīng)歷了極其恐怖且終生難忘的夜晚。從醫(yī)生口中得知，該社區(qū)每個(gè)月都會(huì)發(fā)生一次類似案件，但警方無(wú)一例外都將其歸咎為普通的野獸所為。　　得不到親人的救助，更無(wú)法奢望父母的庇護(hù)，安布羅斯只能融入社區(qū)，尋找拯救自己的辦法……

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.

爆旋陀螺電影版：激戰(zhàn)！小龍VS大地

 お父さん世代が子どもの頃に熱中した遊び＜ベーゴマ＞がより複雑に進(jìn)化し、エンタテインメント性とバトル性をアップさせた新世代ベーゴマ＜ベイブレード＞をフィーチャーした人気ＴＶアニメ「爆転シュート　ベイブレード」の劇場(chǎng)版。ベイブレード日本一に輝いたタカオの前に新たなチャレンジャーが出現(xiàn)、壯絶なバトルが展開(kāi)する。ベイブレード日本選手権大會(huì)に參加したタカオとドラグーンは仲間たちの聲援を受け、激闘の末見(jiàn)事日本一に輝いた。しかし、喜びの表彰式の最中に新たなチャレンジャーが現(xiàn)われタカオに挑戦を申し込む。チャレンジャーの名は皇大地（すめらぎだいち）。彼は“ガイアドラグーン”を手に日本一の座を賭けタカオに挑む。ドラグーンｖｓガイアドラグーン。２つのベイがスタジアムで激しく火花を散らし、ぶつかり合う。だが、その戦いが、遠(yuǎn)い昔に封印された闇の力を古代遺跡から呼び覚す引き金となってしまう。平和な街に悪夢(mèng)の力が襲い掛かる……。

刺透

搖滾萬(wàn)萬(wàn)歲

　　1982年，英國(guó)傳奇重金屬樂(lè)隊(duì)Spinal Tap搖滾樂(lè)團(tuán)紅極一時(shí)。電影導(dǎo)演馬蒂（羅伯·萊納 Rob Reiner 飾）是Spinal Tap樂(lè)團(tuán)的一位忠實(shí)粉絲。Spinal Tap樂(lè)團(tuán)要來(lái)美國(guó)舉行一次復(fù)出巡演，馬蒂則為Spinal Tap樂(lè)團(tuán)拍攝隨行紀(jì)錄片。本部仿紀(jì)錄片刻意杜撰出一個(gè)英國(guó)搖滾樂(lè)團(tuán)Spinal Tap，活靈活現(xiàn)的刻畫(huà)出了搖滾樂(lè)團(tuán)臺(tái)上臺(tái)下表里不一的嘴臉，對(duì)當(dāng)代搖滾樂(lè)做出了尖銳的諷刺和嘲諷。　　本片由羅伯·萊納自編自導(dǎo)自演之作。影片中的電影音樂(lè)均由演員們親自演奏創(chuàng)作而成。