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瘦身男女
刘德华,郑秀文,王天林,林雪,黑川力矢,佐膝佳次不死真相
埃里克·罗伯茨,桑德拉·布莱克,阿什莉妮可布莱克,Hope Blackstock,C.J. Stussi,伊莎贝拉·洛厄尔下一个台风
张子枫,张伟丽,李心洁,姚晨,李晓川,蔡珩,曾慕梅,柴烨,蒋昀霖金属之声
里兹·阿迈德,奥利维亚·库克,保罗·拉西,劳伦·利德洛夫,马修·阿马立克,克里斯·佩尔费蒂,迈克尔·陶,威廉·泽法尔茨,亚历克斯·基尔戈尔,杰米·加扎里安绝种好男人
任贤齐,张柏芝,李珊珊,葛民辉,杜汶泽,黄浩然,王天林,森美,阮小仪,刘恺威,李思捷,李枫,张文慈,黄泆潼,吴慧冰,黄琛如,王晶,张仕铿,李霆锋,何肇晃,黄卡娜,发烂渣,吴成达,杨嘉雯,高宝云,文诗琪,叶景文,董伟强,陆剑青,李正津夺魂医生
Andrew Prine,Jason London,Carlos Lauchu同类推荐
欢乐岁月2025
丹尼尔·雷德克里夫,乔纳森·格罗夫,琳赛·门德兹,瑞格·罗杰斯,克里斯托·乔伊·布朗,Katie Rose Clarke,Natalie Wachen讲述三位好友跨越几十年的友情。
东北恋哥3：冬天里的一把火
包贝尔,张梦露,乔杉,潘斌龙,韩彦博,韩云云,张呈90年代的哈城，刚刑满释放的徐铁（包贝尔 饰）偶遇装哑的舞女百灵（张梦露 饰），两人也在几次偶遇和深夜相伴中渐生情愫。直到除夕夜的温暖，让他们相互靠近，却又因现实隔阂，家人误解而屡屡拉扯。百灵为父还债的秘密账本，让徐铁读懂了她的苦衷，雷力的迫害更是将两人推向绝境，徐铁以命相搏救出被囚的百灵，终赢来家人祝福。这对孤独灵魂，在世俗重压下，以真爱焐热了彼此的人生。
角头：斗阵欸
高捷,蔡振南,太保,喜翔,龙天翔,王识贤,夏靖庭,孙鹏,黄腾浩,张怀秋,黄尚禾,郑人硕,张再兴,唐振刚,吴震亚,黄冠智,林真亦,陈万号,白吉胜,李铭忠,崔浩然,黄镫辉,吴念轩,是元介,瑞玛·席丹,王阳明,陆明君,曾珮瑜,荒山亮,林道禹,隆宸翰,邱永腾,游安顺,伊正,王自强,孙国豪,草爷因父亲挑起新旧敌对帮派的激烈地盘斗争，身为儿子的他则试图掌控腥风血雨的台湾黑社会，在兄弟情与自身处境的夹缝中被迫前进。外部敌对势力步步进逼，内部也因误会与压力而开始产生裂缝，使得情义不再是理所当然的依靠……
岁岁平安
刘威葳,段奥娟,蔡沅江,赵虎,杨阳,张太文暴雨将至，轰隆隆的声音夹杂着人群的呼喊声砸向操场，正在参加小学田径比赛的唐平安重重的摔倒在地面，当母亲李枚赶到医院时，医生却给了再生一个孩子做骨髓移植的建议，李枚怔怔的站在深不见底的楼道，像是对她过去十几年最好的惩罚，故事从这里开始。十几年前，李枚在计划生育政策下为了生二胎，不得不将襁褓中的女儿岁岁远送他乡亲戚，不料几年后，渐渐成熟的岁岁却成了猥琐养父趁女儿洗澡时偷偷窥视的对象，看上去多余的岁岁在一次争吵后离家出走，流浪的女孩却遇到了新的“父亲”刘建凯，一个住在船上打渔为生的男人，以父女相称，看起来生活就这么好起来了。几年后，突然一个陌生的女人闯入岁岁的生活，自称姑妈。其实是李枚儿子平安突发白血病以后，他们想起了被自己抛弃的女儿，通过当年的一丝联系，辗转找到了女儿岁岁，这是这个家庭唯一的希望。只是女儿岁岁似乎早已经知道了真相，他们互为朋友，互相试探，互相利用，最终他们都要回家，可是岁岁的家到底在哪里？
等待方舟
耶日·斯图尔,克里斯提娜·杨达,卡里娜·谢鲁斯克,马里乌什·德莫霍夫斯基,马雷克·瓦尔切夫斯基,扬·诺维茨基,亨里克·比斯塔,莱昂·涅姆奇克,克兹佐夫·马扎克,斯坦尼斯瓦夫·伊加尔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.