沈清性傳
一個(gè)有錢的盲人，一個(gè)充滿了虛張聲勢(shì)的男護(hù)士，還有一個(gè)不穿衣服就在屋子里走來走去的女人。 這個(gè)盲人在一次不公正的事故中失去了視力和家庭，他在鄉(xiāng)下的一所好房子里自由地生活著。有時(shí)，他會(huì)和一個(gè)應(yīng)召女郎呆在一起，但他在中年時(shí)仍然很孤獨(dú)。當(dāng)他的友好照顧者把陌生人帶進(jìn)家門時(shí)，在鄉(xiāng)下的房子里的生活就不那么安靜了。
在線看
同款熱播
杰姆·耶爾馬茲：招牌笑料2024
杰姆·耶爾馬茲在這部充滿活力的特輯中，土耳其重量級(jí)喜劇演員杰姆·耶爾馬茲登上單口喜劇舞臺(tái)，調(diào)侃了“取消”文化和令人后悔的紋身等話題
近戰(zhàn)
杜夫·龍格爾,吉娜·梅,邁克爾·帕爾,巴沙爾·拉海爾,詹姆斯·查爾克身陷囹圄的特種兵麥克（杜夫·龍格爾 Dolph Lundgren 飾）終于迎來了被保釋的那一天，然而，令麥克沒有想到的是，保釋他的不是別人，居然是美國(guó)大使館的官員克萊夫（邁克爾·帕爾 Michael Paré 飾）。原來，有一項(xiàng)充滿了危險(xiǎn)和變數(shù)的任務(wù)擺在眼前，而身經(jīng)百戰(zhàn)經(jīng)驗(yàn)豐富的麥克則是這項(xiàng)任務(wù)最合適的執(zhí)行者。 根據(jù)提示，麥克需要去營(yíng)救一位名叫安娜（吉娜·瑪麗 Gina Marie 飾）的女子，安娜遭到了武裝綁架，有可能被敵方洗了腦。而當(dāng)麥克找到安娜時(shí)，安娜卻告訴麥克她被綁架一說是子虛烏有，而麥克要將她帶走的行為才是真正的綁架。安娜和克萊夫之間，一定有一個(gè)人在說謊，沒過多久，陷入了困惑之中麥克就發(fā)現(xiàn)，他和安娜已經(jīng)成為了眾矢之的。
大衛(wèi)2025
菲爾·威肯 ,阿西姆·喬杜里,米克·溫格特,阿什利·博徹,馬克·惠頓,布倫特·穆卡伊,Brandon Engman,Kamran Nikhad,Reina Ozbay,Will de Renzy-Martin,亞當(dāng)·邁克爾·戈?duì)柕?亞當(dāng)·梅爾,Lauren Daigle,Mark Jacobson,凱蒂·伯恩斯坦,Brian Stivale,Sloan Muldown,馬克·西爾弗曼,Mike Ciporkin,Dorah Fine,沙哈爾·塔沃赫從他母親的歌聲到他與歌利亞的沖突，大衛(wèi)從卑微的牧羊人到受膏的國(guó)王的旅程考驗(yàn)了信仰、勇氣和愛的極限，最終在一場(chǎng)爭(zhēng)奪王國(guó)靈魂的戰(zhàn)斗中達(dá)到高潮。
不干了，我開除了黑心公司
福士蒼汰,工藤阿須加,黑木華,森口瑤子,池田成志,小池榮子,吉田鋼太郎北川恵海人氣小說《不干了，我開除了黑心公司》電影化，成島出執(zhí)導(dǎo)，福士蒼汰主演，工藤阿須加、黑木華、小池榮子、吉田綱太郎等在片中出演。講述了青山隆在公司被壓迫精神壓力過大，但被朋友山本的活力感染又恢復(fù)了自信，但隆卻得知真正山本三年前就自殺了……
停滯
Dan Palmer,Tamaryn Payne,Mark Holden講述一個(gè)看門人被困在一個(gè)女廁所，遇到一批僵尸的攻擊……
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.