聊齋艷譚之幽媾

評分:8.4 播放:59萬 更新:2026-04-25

鶯鶯、小梅和苗苗都是王母娘娘所養的玉兔,因鶯鶯不甘心被困,私自下凡,并與陸福結為夫婦,娘娘為此事大為震怒,命天神下凡捉拿鶯鶯。小梅出于姐妹情深,也私自下凡通風報信。也被天神追殺,被玉書所救,兩人遂成魚水之歡。但小梅的身份卻被道長識破,小梅為了不泄漏身份,被道長所傷。苗苗和兩人失散后,也演繹了一段纏綿的愛情,最后三姐妹終于重逢了,這時,鐵面無私的判官也出現在他們面前。   

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Leslie-Anne Huff,Roy Werner,Kimberly Estrada,陳奕迅,Lee Perkins

  少女凱特(萊斯利-安妮·哈芙 Leslie-Anne Huff 飾)擁有一種神奇的能力,隨便什么人,她只要看上一眼,便能知道他的死期為何時。一次偶然中,凱特遇見了名為杰森(Anthony Chaput 飾)的男子,凱特發現杰森擁有能夠在死后和現世交流的能力,并且,杰森的死期就在幾個小時之后。一直想要知道死后世界是什么模樣的凱特擺脫杰森在死后同她聯絡,杰森興然應允。  果然,很快杰森便死了,在臨死之時,一副詭異恐怖的畫面出現在了杰森的眼前。之后,凱特果然接到了杰森來自“陰間”的電話,根據杰森的指使,凱特需要前往香港,在那里,一位名叫達倫(陳奕迅 飾)的酒保正在等她。

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.

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