齊格弗里德的情色探險(xiǎn)
在很久以前,大膽又英俊的年輕人騎士,戰(zhàn)斗惡棍和消防呼吸龍,都是為國(guó)王、 國(guó)家和一位美麗少女的愛。關(guān)于他對(duì)妻子的追求,勇敢和陽剛騎士暴跌再一次又一次,他長(zhǎng)時(shí)間利劍紓解他有男子氣概的緊張局勢(shì)。最后,他在一個(gè)美麗的公主,是設(shè)置了他的目光。偉大的征服者已見過他的比賽嗎?
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和佳蓉,毛凡,陳曉霞,孫盈藝,蘇俊宇昭和殘俠傳 唐獅子牡丹
高倉健,三田佳子,池部良,津川雅彥魔影襲人來
萊斯利·霍華德,勞倫斯·奧利弗,雷蒙德·馬西,安東·沃爾布魯克,埃里克·波特曼犯罪讀者俱樂部
Veki Velilla,Iván Pellicer,阿爾瓦羅·梅爾,卡洛斯·阿爾凱德,瑪麗亞·賽爾祖埃拉,普利西婭·戴爾加多,丹尼爾·格勞,Carmela Lloret,Ane Rot,Hamza Zaidi演員龜岡拓次
安田顯,麻生久美子,宇野祥平,新井浩文,染谷將太,淺香航大,杉田薰,工藤夕貴,三田佳子,山崎努草迷宮恐怖殺人事件
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黑暗收割
卡塞伊·萊克斯,艾默莉·克魯奇菲爾德,Dustin Ceithamer,亞歷杭德羅·阿卡拉,以斯拉·巴茲頓,杰瑞米·戴維斯,伊莉莎白·里瑟,盧克·柯比,Austin Autry,梅根·貝斯特,杰克·布雷楠,布里坦·道爾頓,史蒂文·麥卡錫,Maclean Fish,納扎利·德姆克維奇,West Mulholland,Carter Heintz,Logan Tomanek,Dylan McEwan,Ryder Dueck大衛(wèi)·斯雷德(《漢尼拔》)將為米高梅執(zhí)導(dǎo)新片[黑暗收割](Dark Harvest,暫譯)。影片根據(jù)同名恐怖小說改編,邁克爾·吉里奧([龍與地下城])撰寫劇本。故事發(fā)生在1963年的萬圣節(jié),圍繞著一個(gè)叫“十月男孩”展開。每年萬圣節(jié),他都會(huì)手拿屠刀,從玉米地里爬起來,走向小鎮(zhèn)。無論是獵人還是獵物,“十月男孩”都是一年一度生死儀式的獎(jiǎng)品。皮特知道,殺死“十月男孩”是他逃離這個(gè)窮途末路的小鎮(zhèn)的唯一機(jī)會(huì)。他愿意冒著生命危險(xiǎn)去贏得勝利。但在夜晚結(jié)束之前,皮特將發(fā)現(xiàn)“十月男孩”可怕的真正秘密。
笨賊向前沖
馬有才,彤彤,杜玉明,許新宇,馬衛(wèi)軍,彭波,王川,劉剛,劉波,王泇淇城市最大的參行被盜,價(jià)值千萬的野山參瞬間下落不明。推銷員馬有才事事都晚半拍,他為籌集一筆資金,鋌而走險(xiǎn)變成了一個(gè)空有盜竊名頭的盜竊人。主犯“獨(dú)眼”處心積慮想把同伙滅口卻不幸喪命。蕭文欲在盜竊人參計(jì)劃中獲利,卻偶遇苦尋的女友的未婚夫曹豐。案件在警官許峰的層層追查下更加撲朔迷離。人性的深情相付和鋌而走險(xiǎn),讓所有人的關(guān)系和命運(yùn)錯(cuò)綜復(fù)雜......
趕山人傳奇
該電影以民國(guó)民俗懸疑為題材,講述了一個(gè)二十年前的悲劇,以及二十年后的探秘之旅。在二十年前,龍二奎(由劉交心扮演)在趕山途中救助山中麻風(fēng)病院,但一次誤用山中藥材卻引發(fā)了一場(chǎng)悲劇。二十年后,龍二奎攜帶徒弟林耀山(由張倬聞扮演)等人再次踏上趕山之路,尋找未知的秘密。
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.
印度超人前傳
瑞哈,赫里尼克·羅斯?jié)h,普麗緹·澤塔,拉克什·羅斯?jié)h,Prem Chopra,Rajat Bedi,喬尼·里沃,穆克什·里希本片講述了印度超人克里斯的父親的傳奇經(jīng)歷。本來膽小懦弱的羅西特偶然與遺落在地球的外星人賈都締結(jié)下深厚的友情,賈都把自己的一身特異功能傳給了羅西特并幫助他成為所向披靡的超人... ... 如果說《印度超人》是向超人叫板的話,此前傳倒有幾分向ET致敬的味道。