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陌生人:第二章
蕾切爾·申頓,理查德·布雷克,瑪德萊娜·佩切,弗洛伊·格特瑞茲,布魯克·莉娜·約翰遜,弗洛里安·克萊爾,賈妮斯·埃亨,杰米·泰勒·巴列斯塔,佩德羅·萊安德羅,布萊恩·勞,薩拉·弗里德蘭,J·R·埃斯波西托,帕布洛·桑德斯特羅姆誰不說俺家鄉好2026
曹隨風,王心嫚,張未柯,賈旭明在你的愛情里
丹努什,克里蒂·薩農,Sushil Dahiya芭比與三劍客
Kelly Sheridan,Tim Curry,Kira Tozer任務迷走72小時
魯克·高斯,博基姆·伍德拜因,路易·曼迪勒,馬克·可汗,萊昂納德·凱利-揚,海瑟·洛普,布魯克·紐頓,羅伯特·菲茨杰拉德·迪格斯,雷弗·甘特沃特食人豬
嚴泰雄,鄭有美,張恒善,尹宰文同類推薦
紅旗譜1960
崔嵬,蔡松齡,魯非,趙聯,俞平,陳帆,王勉之,趙萬德,村里,王寅申,李建國,李健,陳梅儁,于中義,周婷,梁新,葛存壯,安然,李環,李唐,凌元,石慶福,鄭碧賢,郭書田,趙子岳,孫鳳琴,安震江,劉春霖二十世紀初,冀中平原民不聊生。地主馮蘭池(葛存壯 飾)為霸占官產,砸鐘毀證。農民朱老鞏(崔嵬 飾)為民挺身,無奈抵不過強大的封建勢力,氣病身亡。幼子虎子(陳帆 飾)——朱老忠(崔嵬 飾)逃離家鄉。25年后,正值壯年的朱老忠帶領全家從關東返回家鄉。深知盲目尋仇解決不了任何問 題。不久,他結識了地下黨領導人賈湘農(魯非 飾),并同嚴志和(蔡松齡 飾)、伍老拔(李建國 飾)等人一起走上革命道路。在朱老忠的帶領下,他們在鎖井鎮和地主階級展開了斗爭。志和的長子運濤(趙聯 飾)南下黃埔軍校,參加了北伐戰爭。蔣介石背叛革命,運濤被捕入獄,革命陷入低潮。朱老忠帶著江濤(趙萬德 飾)去探望,從運濤那里知道了更深刻的革命道理。返鄉后,他們串聯鎖井四十八村的農民,要在平原上卷起風暴......本片根據梁斌同名小說改編。
我只流三次淚
方超,朱時茂,丁一,張偉欣,李小璐,劉釗,薛白,李屹,尚志文,黃鎮馬悅(方超 飾)的父親是一名軍人,為了保家衛國,他毅然決然的走上了前線。父親將10歲的馬悅托付給了姑姑撫養,馬悅對爸爸日思夜想,整天都悶悶不樂。馬悅轉到了新的學校里學習,班里有同學嘲笑和侮辱馬悅的爸爸,馬悅因此和他們大打出手,并因此受到了嚴厲的批評,馬悅感到非常的委屈。曉曉和馬悅有著非常相似的經歷,因此兩個小伙伴很快就結下了堅實的友誼。看曉曉實在是太思念爸爸了,馬悅決定去部隊尋親,但是馬悅不但沒有見到自己的爸爸,還得知了曉曉的爸爸已經光榮犧牲的噩耗。嚎啕大哭的馬悅不知道該如何告訴曉曉這件事情。
無情的城市
金錫勛,趙成夏,徐英姬2012韓國電影《無情的城市》堪稱“韓國版《撞車》”,以9個人物為中心,講述他們在24小時內發生的連環悲劇。李基英在片中飾演一位放高利貸的放債人,他放貸給面臨破產危機的金大宇(金石勛飾),在金大宇沒能力償還高利貸后李基英就以此為借口威脅金大宇說要摘除他的臟器。特別是李基英在殺死自己的妻子后,當他被指定為嫌疑人接受調查時面不改色、處變不驚、泰然處之的演技表現,令人感到毛骨悚然。
群體
全智賢,具教煥,池昌旭,申鉉彬,金新綠,高洙影片講述了因不明感染事件而被封鎖的建筑內,孤立無援的幸存者們對抗以無法預測形態進化的感染者的故事。
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.