斯通夫人的羅馬春天
忘年之戀,斯通夫人是一位過氣美國女演員,丈夫非常有錢,但在他們?nèi)W洲度假途中忽然去世,于是斯通夫人一下飛機就成了富孀。故事背景是二戰(zhàn)結(jié)束不久的意大利,作為戰(zhàn)敗國,意大利很是蕭條,一些昔日的貴族如今已入不敷出,不得不以給有錢女人介紹;年輕男伴 為生斯通夫人就這樣得了幾個男伴,全是樣貌俊朗的意大利男青年,但是她無法接受這種;交易 所以她總是在第一次見面之后就簽張支票把人家打發(fā)掉,但她又忍不住再做新的嘗試,因為她渴望真正的年輕男子對她的愛。她已經(jīng)50歲了,直到一個最有耐心的男伴費盡心機套牢她,那男伴的年齡可以做她的兒子。可是,就在幾乎套牢她的一瞬,她意識到他還是為了她的錢,所以,最后關(guān)頭她咬緊牙關(guān)把他給打發(fā)了
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血戰(zhàn)到底2025
李恰,于莫凡,李博,呂晨天出血
常戎,蓋麗麗,于紹康,楊兆泉,洪濤玄機衛(wèi)之鎮(zhèn)國神鼎
賀剛,袁福福,李夢穎,劉林城,寇振海,老羊,曉凡,陽蕾總統(tǒng)班底
達斯汀·霍夫曼,羅伯特·雷德福,杰克·沃登,馬丁·鮑爾薩姆,哈爾·霍爾布魯克,F·默里·亞伯拉罕,簡·亞歷山大,杰森·羅巴茲金錢怪獸
喬治·克魯尼,朱莉婭·羅伯茨,杰克·奧康奈爾,多米尼克·韋斯特,凱特瑞娜·巴爾夫,吉安卡羅·埃斯波西托,丹尼斯·布特斯卡里斯,約瑟夫·D·雷特曼,達瑞·因戈爾夫松,克里斯托弗·鄧漢,安東尼·德·桑多,萊尼·維尼托RRR
小老虎,拉姆·查蘭,阿賈耶·德烏干,阿莉雅·布哈特,奧利維亞·莫里斯,施芮婭·薩蘭,雷·史蒂文森,艾莉森·杜迪,塞繆拉卡尼,錢德拉·塞卡,馬卡蘭德·德斯潘德,拉杰夫·卡納卡拉,拉胡爾·拉瑪克里斯納,Edward Sonnenblick,Varun Buddhadev,Spandan Chaturvedi,馬克·班寧頓同類推薦
執(zhí)法記錄
杰米·M·卡利卡,肖恩·羅格森,凱瑟琳·拉夫·哈格奎斯特,Angel Prater,基岡·康納·特雷西,Chris Casson,Elizabeth Longshaw,Colette Nwachi,Joe Perry,Kevin Doree兩名警察在出警處理一樁家庭糾紛時,不慎釀成了一起槍擊意外。為了避免成為輿論的眾矢之的,他們選擇聯(lián)手掩蓋真相。隨著事態(tài)逐漸失控,他們才驚覺——監(jiān)視他們的,遠(yuǎn)不止現(xiàn)場的攝像頭…
克羅克特先生
杰瑞卡·辛頓,Alex Alomar Akpobome,埃爾維斯·諾拉斯科,Kristolyn Lloyd,Lyla Randall,Akim Black,Gina Jarrin,Ayden Gavin,Melanie Christine Leon-Soon,Riley Vinson,Matthew LB McCollum,Jabari Striblin1993 年,發(fā)生了可怕的事件:一個神秘的兒童節(jié)目主持人克羅克特先生神奇地從電視機中出現(xiàn),綁架了年幼的孩子殺害了其父母。而在克羅克特先生綁架了女主的兒子之后,女主開始了危險的追尋之旅,她要找到這個惡魔,救出她的兒子。
毒蜂
富大龍,許亞軍,高梓淇,侯勇,呂良偉,王斑,鄭曉寧,張苡寧,張靜靜,白慶琳,方姝晴,袁帥新型毒品“蜜蜂”在江州毒品市場肆虐,隨著研制者“毒蜂”被緝拿歸案,其配方也面臨消失,毒界變得風(fēng)聲鶴唳。主人公段成(富大龍 飾)在一次押送途中越獄,并對外宣稱自己是“唯一知道蜜蜂配方”的人,面臨配方重出江湖的巨大誘惑,多方勢力開始對段成展開威逼利誘。經(jīng)歷追殺、強行被注入毒品等非人折磨后,段成滲入毒巢,以“誘餌”身份一步步接近大毒梟“蜂王”……另一方面,江州警方的“捕蜂人行動”也正式啟動,一場正與邪、善與惡的黑白對決一觸即發(fā)……
等待方舟
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.
謊言的島嶼
內(nèi)瑞雅·巴德洛斯,達里奧·格蘭迪內(nèi)蒂,埃托爾·盧納,Victoria Teijeiro,Ana Oca,米洛·塔波阿達,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,他們滿心期待在那里能夠開始他們嶄新的人生。不幸的人,一場船難襲擊了這群追夢者,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了。幸運的是,島上生活的三個女人發(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,這三個女人也因此名聲遠(yuǎn)揚,被視為英雄。 一名阿根廷記者聞訊來到了這座小島,想要將這件事情寫成報道,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說的不符,不僅如此,他還開始懷疑,或許蒸汽船的沉沒從一開始就不是一場意外。