姊夫我可以

 菜埔（莊益增 飾）是一家雕塑廠的夜間保安，家中有一位重病的老母親需要照顧。肚財（陳竹昇 飾）是菜埔唯一的朋友，菜埔經常在值夜班的時候把肚財叫過來和他作伴。一天，兩人突發奇想決定看一看菜埔的老板黃啟文（戴立忍 飾）的行車記錄儀里記錄了哪些影像，希望向來風流的老板能夠貢獻出一些精彩的片段以解兩個獨身男人內心里的寂寞之苦。行車記錄儀所記錄的影像果然沒有讓菜埔和肚財失望，但與此同時，兩人也發現了黃啟文的許多不可告人的秘密。實際上，菜埔和肚財的一舉一動皆沒有逃過黃啟文的眼睛，為了保住自己的地位和名聲，他決定采取一些必要的行動。

　　一群銀行劫匪從銀行逃出后,來到了

 快樂、善良的老工人羅老滿退休以后閑不 住，當了一名義務警察，維持交通秩序。 老伴去世，給他留下一兒一女。兒子大滿 已結婚，并有一子叫小滿。小滿倍受寵 愛，儼然家中的"小皇帝"。大滿是"獅子 樓"餐館的總務，他為人憨厚，繼承了老滿 的隨和、善良性格。嬌女羅秀蘭一心想出 國過"幸福"生活，為此他不顧個人尊嚴。 她請老滿去看自己的客串演出，老滿很不 情愿，但小滿鬧著要去，他只好舍命陪孫 子。小滿6歲生日那天，羅家給他辦了個生 日宴會，正當大家興高采烈之際，小滿跑 到亭車場上玩彈子，不幸被車軋傷了腿。 到醫院后，正好碰上曾因違反交通規則而 被老滿罰款5角的鐘大夫值班，鐘大夫便借 機報復。為救孫子，老滿只得叫大滿送 禮，結果遭到戲弄。老滿忍無可忍，提著 禮物揚長而去。事也湊巧，鐘大夫那頑皮 的兒子，因為跳水也摔斷了腿，送到醫 院，鐘大夫照樣踢皮球，后來發現是自己 的兒子時，他才慘叫一聲"救命"！煩惱好 像總是纏著老滿，當全家人正為小滿傷好 出院高興時，女兒羅秀蘭跟隨那個"菲律賓 華僑"出外旅游外，未婚先孕狼狽地回來 了。她的"華僑"男友仲小毛原來是個騙 子，已被送去勞教。秀蘭的美夢徹底破滅 了，在付出巨大代價后，她開始醒悟，她 第一次深情地叫了老滿一聲"爸爸"。見到 女兒凄慘的樣子，老滿決定去找鐘小毛的 父親--鐘和堅算賬，沒想到鐘和堅是個十分 懦弱的老頭，妻子跟人跑了，他對小毛百 依百順，結果反被兒子揍了一頓。老滿內 心壓抑，有氣無處發泄。故事的結局似乎 老滿還是幸福的，可老滿直想哭，痛痛快 快地哭一常但他卻笑了，笑出了眼淚，那 令人辛酸的眼淚。

　　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.