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最后的救贖2024
娜塔莉·伯恩,詹姆斯·科茲莫,Denisa Juhos惡徒2025
斯蒂芬·格拉漢姆,安德麗婭·賴斯伯勒,安森·布恩,奧斯汀·海恩斯,基特·拉庫森,卡勒姆·布斯-福特,薩萬娜·斯泰恩,諾亞·曼祖爾,Monika Frajczyk如何大賺一筆
格倫·鮑威爾,瑪格麗特·庫里,杰西卡·亨維克,比爾·坎普,扎克·伍茲,托弗·格雷斯,艾德·哈里斯,詹姆斯·弗蘭切威勒,拉夫·洛,史蒂夫·馬克,露露·泰勒,安德烈·雅各布斯,Maggie Toomey,肖恩·卡梅倫·邁克爾,內(nèi)爾·威廉姆斯,喬·瓦茲,馬丁·門羅,比安卡·阿瑪托,羅伯特·霍布斯,伊桑·桑德斯毛骨悚然撞鬼經(jīng) 2018夏季特別篇
神木隆之介,內(nèi)田理央,岡山天音,菜菜緒,飯豐萬理江,小野武彥,よしこ,まひる,桐山漣,余貴美子,平祐奈,葵若菜,今田美櫻,櫻田通,宮澤竹美,櫻井由紀,北村一輝,吉田羊,稻垣吾郎不良街區(qū)
張本煜,黃塏翔,劉揚,町田悠宇,粘土大介忍者龍劍傳
難波圭一,冬馬由美,若本規(guī)夫,鄉(xiāng)里大輔,榊原良子,石冢運升,鈴木沙織,浦和惠,里內(nèi)信夫,增田有宏,川津泰彥,沼田祐介,內(nèi)海秀雄,小川真司最偉大的時光
艾斯林·貝亞,馬修·麥克諾提,愛麗絲·洛維,伊莎貝爾·貝爾納多,埃瑪·阿莫斯,羅拉·麥克唐納,齊吉·希思,馬克·伍頓,阿爾弗雷多·塔瓦雷斯,Jayde Adams,安馬卡·奧卡福,Barry O'Connor,Emmet Byrne,Matthew Koon,Manolia Nannou同系列推薦
超狗任務(wù)
杰森·李,艾米·亞當斯,彼特·丁拉基,詹姆斯·貝魯什,帕特里克·沃伯頓我的青春我的夢
張淑琬浮出水面的影子
沈傲君,張偉欣,李佳,姜武怪物驚魂
碧帕莎·芭素,Imran Abbas,Bikramjeet Singh,Deepraj Rana,Mukul Dev領(lǐng)養(yǎng)驚魂
約翰·庫薩克,蕾切爾·勒費夫爾,瑞恩·菲利普,路易斯·古茲曼,杰基·韋佛,伊莎貝拉·阿德里亞尼,Blas Diaz熾愛
卡特琳娜·格蘭厄姆,梅里特·帕特森,塞巴斯蒂安·羅奇,王卡帝,Roger Cross,Aren Buchholz,Kayla Wallace,大衛(wèi)·劉易斯,Andres Collantes,Chris Cope幕后花絮
風險社會
His dream was simply ordinary. To live in a comfortable apartment, waking up to a happy morning with his loved one. However, as he roams around a casino located in Gangwon Province, everything he had crumbles. Young-gil, who dreamed of a happy future with Harim, finds himself trapped in the temptations of the casino, sinking into an abyss with no bottom. He can’t escape the allure of the casino, losing his way in an unpredictable swamp.
等待方舟
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.