奧利維耶，奧利維耶
家庭倫理影片，一個(gè)九歲的男孩在巴黎消失得無影無蹤，六年后他又在巴黎出現(xiàn)，沒人知道這些年究竟發(fā)生了什么1993年凱撒獎(jiǎng)最佳新進(jìn)男演員提名-Gr eacute;goire Colin 1992年西班牙瓦拉多利德電影節(jié)最佳女演員-Brigitte Ro uuml;an
即刻觀影
劇情賞析
編輯推薦
意外空間
胡伯托·巴斯托,Erick Trinidad Camacho,Santiago Mendoza Cortes,Adrián Ladrón de Guevara,Enrique Mendoza,埃爾南·門多薩,勞爾·門德茲兄弟二人生活過的緊巴巴，弟弟生性懦弱，哥哥強(qiáng)勢(shì)霸道，這天，哥哥搶劫別人得來了錢，兄弟二人正高興之際，一名偵探找上門來，雙方發(fā)生爭(zhēng)執(zhí)，追逐之中，三個(gè)人發(fā)現(xiàn)自己被困于無窮無盡的樓梯上，無論如何都走不到盡頭 …… 另一邊，一家人被困于無邊無境的馬路上，相同的加油站，相同的便利店，四周一望無際的荒野，卻如何都逃不出這可怕的地獄…… 兩個(gè)沒有界限的空間，他們要如何應(yīng)對(duì)內(nèi)心逐漸升起的絕望？
圍困
尤里·索洛明,葉甫蓋尼·列別杰夫,伊琳娜·阿庫洛娃,列夫·佐洛圖欣,弗拉季斯拉夫·斯特爾熱利奇克,亞歷山大·拉辛,鮑里斯·戈?duì)柊屯蟹?謝爾蓋·哈欽科,丹尼爾·薩加爾,Vasiliy Minin,Valentin Abramov,Anatoliy Verbitskiy,米哈伊爾·烏里揚(yáng)諾夫,Roman Gromadsky,Konstantin Malakhov,Stanislav Fesyunov,Yuri Maltsev,Aleksandr Afanasev,Vladimiras Lido,Yuri Ku該片講述了偉大衛(wèi)國(guó)戰(zhàn)爭(zhēng)期間列寧格勒遭受德寇圍困的九百天，列寧格勒軍民克服種種令人難以置信的困難--饑餓，轟炸，疾病，寒冷——保衛(wèi)了這座“英雄城”并最終打破了德寇的圍困的故事。
另一個(gè)人
連姆·尼森,安東尼奧·班德拉斯,勞拉·琳妮,蘿瑪拉·嘉瑞,Abigail Canton外人看來，彼得（連姆·尼森 Liam Neeson 飾）無疑是一個(gè)幸福的男人，妻子麗薩（勞拉·琳妮 Laura Linney 飾）溫柔漂亮，兩人的婚姻穩(wěn)定而美滿。可近日來，彼得發(fā)現(xiàn)麗薩的行為舉止越來越奇怪，多疑的他本能的想到，麗薩可能已經(jīng)另結(jié)新歡了。面對(duì)妻子的出軌，占有欲極強(qiáng)的彼得感到妒火中燒，通過種種線索，一個(gè)名叫雷夫（安東尼奧·班德拉斯 Antonio Banderas 飾）的男人浮出了水面。 追隨著麗薩的腳步，彼得來到了意大利，在這里，他果然見到了雷夫。狡猾的彼得決定先隱藏身份，接近雷夫。可是，隨著彼得和雷夫的關(guān)系越來越近，彼得發(fā)現(xiàn)自己漸漸無法控制自己的言行，他對(duì)雷夫的存在深惡痛絕，恨不得殺之而后快。
周二謀殺定律
亞歷克斯·加西亞,茵瑪·奎斯塔,阿娜·瓦格納,卡拉·坎普拉,貝倫·洛佩茲,戈?duì)柨āとR斯奧薩,Mia Zafra,Carmen Ruiz,Xavi Lite,保羅·皮雷,貝爾·蒙特羅,Saida Benzal,阿德里亞諾·卡瓦略,路易莎·加瓦薩,拉克爾·佩雷斯,Romeu Runa,Elsa Galv?o,佩德羅·卡薩布蘭科,Tiago Sarmento,Marga Arnau一群有組織地前往里斯本的游客在第一天早上其中一人被殺后，發(fā)現(xiàn)自己正在調(diào)查一起謀殺案。當(dāng)他們參觀美麗的里斯本景點(diǎn)時(shí)，開始在人群中尋找兇手。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),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(yáng)·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.
光榮何價(jià)
大衛(wèi)·卡拉丁,Ronny Cox,蘭迪·奎德,梅林達(dá)·狄龍這部電影是伍迪·格斯的優(yōu)秀傳記，他是美國(guó)最偉大的民謠歌手之一。他在上世紀(jì)30年代離開了自己位于得克薩斯州的家，去找工作，發(fā)現(xiàn)了美國(guó)工人階級(jí)的苦難和力量。