目迷五色
五位東洋明星女作家寫(xiě)劇本、五位新鮮導(dǎo)演.大旗、五位一線(xiàn)女優(yōu)性感出演，攪盡創(chuàng)意為你帶來(lái)五套關(guān)于情欲的短片。 《桃》長(zhǎng)谷川京子咬著家鄉(xiāng)的蜜桃，彷彿回到14歲時(shí)的y-蕩年代；《太陽(yáng)底下》釘子截的士誤上賊車(chē)，整夜由愛(ài)欲直到纏綿相惜 《夜之舌尖》晶子發(fā)現(xiàn)將心儀對(duì)象的頭髮放進(jìn)香爐，一夜纏綿的心愿就能實(shí)現(xiàn)，從此她的眼中只有頭髮?zhuān)淮菩哉T惑(FEMALE)《女神足踝》小男生迷上小女生的母親，戀母情結(jié)一發(fā)不可收拾；《玉蟲(chóng)》老咸蟲(chóng)遭雷劈，情婦發(fā)現(xiàn)愛(ài)欲。 條條短片創(chuàng)意先行、極費(fèi)心機(jī)，絕非一般大片可比。
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失控2018
李·佩斯,杰森·蘇戴奇斯,朱迪·格雷爾,寇瑞·斯托爾,艾琳·莫里亞蒂,賈斯汀·巴薩,邁克爾·庫(kù)立茲,塔拉·薩莫斯,伊多·戈德堡,岡本玉二,阿瑟·邁爾斯·法里卡,艾梅柏·里維拉,布賴(lài)恩·泰斯特,杰弗里·霍爾斯曼,奧馬爾·克魯茲·索托,Isabel Arraiza,Tyler Crumley,路易斯·O·羅薩多李·佩斯出演美國(guó)傳奇汽車(chē)公司德勞瑞恩的創(chuàng)始人——天才汽車(chē)設(shè)計(jì)師約翰·德勞瑞恩，影片設(shè)定在1980年代，德勞瑞恩創(chuàng)建還沒(méi)幾年，正在崛起，聚焦約翰和蘇戴奇斯飾演的Jim Hoffman的關(guān)系。Hoffman看似有趣迷人，其實(shí)他是一名前詐騙犯，現(xiàn)在為FBI工作，他來(lái)約翰這里當(dāng)臥底，想要控告其販毒。兩人建立的一段有趣的bromance也很快急轉(zhuǎn)直下，行差踏錯(cuò)。
喋血密令
李琦,馬心怡,徐箭,孫學(xué)增,來(lái)鈺明正德年間，禁衛(wèi)百戶(hù)耿烈因欽差被殺貶為捕頭。此時(shí)寧昌府發(fā)生連串命案，波及寧王壽宴，耿烈奉命追查。為寧王獻(xiàn)畫(huà)富商被毒殺，刺殺欽差的女殺手再次出現(xiàn)，這一切讓耿烈意識(shí)到寧昌府醞釀的風(fēng)暴，將會(huì)改變大明的朝局。
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.
楊非與高俐
劉道玄,彭必瑤,潘國(guó)棟,劉占奎,陳緯,高果高俐醉酒被強(qiáng)哥等人綁架索贖金一億，楊非因父需百萬(wàn)手術(shù)費(fèi)趕路時(shí)車(chē)被同一伙劫匪搶走。二人相遇后，楊非助高俐斗綁匪，發(fā)現(xiàn)高俐與曾因治妻病抵押房產(chǎn)、借高利貸卻致家庭破裂的父親有矛盾。最終高俐獲救，與父和解，楊非湊齊手術(shù)費(fèi)，二人相戀。
謊言的島嶼
內(nèi)瑞雅·巴德洛斯,達(dá)里奧·格蘭迪內(nèi)蒂,埃托爾·盧納,Victoria Teijeiro,Ana Oca,米洛·塔波阿達(dá),Leire Berrocal,Miguel Borines,賽爾索·布加諾,Mela Casal,María Costas,Roberto Leal,Sergio Quintana,Machi Salgado,Ana Santos故事發(fā)生在1921年的西班牙，一艘蒸汽船載著260名西班牙移民駛往美國(guó)，他們滿(mǎn)心期待在那里能夠開(kāi)始他們嶄新的人生。不幸的人，一場(chǎng)船難襲擊了這群追夢(mèng)者，他們所乘坐的蒸汽船載西班牙加利西亞海岸附近的一座小島旁沉沒(méi)了。幸運(yùn)的是，島上生活的三個(gè)女人發(fā)現(xiàn)了這批遇難者，她們熱情的給予了幫助，最終，50名乘客得到了救助，保住了性命，這三個(gè)女人也因此名聲遠(yuǎn)揚(yáng)，被視為英雄。 一名阿根廷記者聞?dòng)崄?lái)到了這座小島，想要將這件事情寫(xiě)成報(bào)道，可是，隨著他調(diào)查的深入，記者發(fā)現(xiàn)很多事情都和他所聽(tīng)說(shuō)的不符，不僅如此，他還開(kāi)始懷疑，或許蒸汽船的沉沒(méi)從一開(kāi)始就不是一場(chǎng)意外。
狙擊精英∶孤魂野鬼
查德·科林斯,湯姆·貝倫杰,瑞安·羅賓斯,喬什·布雷納,Tuks Tad Lungu,多米尼克·馬厄,Manuel Rodriguez-Saenz,米歇爾·伊薩·盧比歐精英狙擊手布蘭登·貝克特與他的小隊(duì)在哥斯達(dá)黎加執(zhí)行一項(xiàng)秘密任務(wù)時(shí)，遭遇陰謀陷害，任務(wù)失敗演變?yōu)閲?guó)際丑聞。為了掩蓋真相，美國(guó)政府直接撇清關(guān)系，將這群最鋒利的戰(zhàn)士定性為“恐怖分子”。前一秒還為國(guó)效力的英雄，后一秒就成了被自己國(guó)家通緝的逃兵。沒(méi)有合法的身份，沒(méi)有空中支援，甚至沒(méi)有合法的射擊通道，布蘭登陷入了前所未有的孤立無(wú)援。