強奸案中案
珍妮(徐曼華)的丈夫姚永遠與情婦幽會時遭人殺害,而情婦受害前掙扎,把兇手的一角衣服撕下,緊握手中。翌日,珍妮竟接獲勒索一千萬元的電話,驚惶中,她決定報警求助。 由于調查案件的關系,警察幫辦阿Tom(潘偉)對珍妮深感同情,而不斷的接觸中,兩人的感情有了進一步的發展,但在翻查檔案資料時,他發現姚永遠和司機阿成數年前曾輪奸公司會計彭美美,惜由于證據不足被判無罪釋放;而彭美美則因受不了而自殺身亡;至于姚永遠生前曾把大量資金注入巴西的一家公司,見證人司徒海的夫人Sandy Lee原來就是彭美美的好友。 不久,警方發現情婦的尸體,而她手中的碎布正是阿成的那件衫,于是他被警方落案起訴。誰知當阿成保釋外出后即遭殺手殺死,Tom開始覺得案件愈趨復雜,案中有案。表面上,案件好像已找到了原兇,但實質仍未終結,耐人尋味。富商姚永達有一種特殊性癖好,就是強奸女人,在多年來受害女性不計其數,而司機阿成更和他同流合污,在一次,姚往其情婦家中風流快活之時,被賊人在家中擊殺二人。賊人更向其妻索款一千萬,後報警求助,探員Dick接手此案,更興其妻發生關系,此時,Dick發現此案不是表面所見那麼簡單,原來是案中有案。 演職員表
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陰山禁地
戴向宇,杜奕衡,朱凌霧,張舜迦,李偉龍,于寶坤,安巴,李易衡失控2018
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凱瑟琳·巴雷爾 Katherine Barrell,阿里·利伯特,安德魯·J·漢普頓When a baby boy shows up on their doorstep days before Christmas with a note written specially for them, Erin (Liebert) and Kelly (Barrell) must learn how to navigate their new relationship and career dynamics while unexpectedly caring for a newborn. As the couple spends more time with the baby as a temporary solution until he can be placed permanently or they can find his mother, they begin to realize that they want to adopt him themselves and go about navigating the complicated world of fostering to adopt all while their business is booming at the busiest time of the year, Christmas. Starring Ali Liebert, Katherine Barrell and Barbara Niven.
門禁2025
梅歌林·艾奇坤沃克,莫·麥克雷,布蘭登·費拉A couple near the end of their marriage begin to encounter supernatural forces that cause them to fight for their lives.
邪完再邪
劉丹,羅莽,劉藍溪,朱客桂治洪“邪”三部曲之末。 人鬼能否相戀?一只女鬼愛上了年輕英俊的馬素(羅莽 飾),于是找到她的父親幫她提親。馬素得知后嚇得魂不附體,毅然拒絕。可是女鬼并沒放棄,她得知馬素暗戀漂亮女孩紅卜卜,于是設法讓紅卜卜死于車禍,然后借尸還魂。馬素見到暗戀已久的女孩主動投懷送抱,喜不自勝,兩人開始了一起生活。生活中每當馬素有什么不如意,女鬼都會運用自己的能力幫他排憂解難。但天下沒有不透風的墻,馬素終于知道了戀人原來是那只喜歡自己的女鬼……
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.
麥哲倫
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