愛情和香煙

5.2 播放：19萬 更新：2026-04-27

橋梁建筑工人尼克;莫德（James Gandolfini 飾）人過中年，對(duì)現(xiàn)有一成不變且枯燥乏味的生活逐漸感到厭倦。性感奔放的紅發(fā)女郎圖拉（Kate Winslet 凱l溫斯萊特 飾）適時(shí)闖入尼克的世界，他的激情被重新點(diǎn)燃，并瘋狂迷戀上這個(gè)令人捉摸不定的尤物。 尼克的妻子凱蒂（Susan Sarandon 飾）是個(gè)堅(jiān)忍的賢妻良母，她靠剪裁衣服貼補(bǔ)家用，還要照顧丈夫和三個(gè)叛逆的女兒。尼克的出軌令凱蒂大為失望，隨之而來的爭吵更將他們的婚姻推向破裂的邊緣。 兜兜轉(zhuǎn)轉(zhuǎn)，走走停停，在露水姻緣消逝無蹤之際，尼克才幡然醒悟，懷念起家的溫暖 ; 　　

播放通道

詳細(xì)簡介

橋梁建筑工人尼克;莫德（James Gandolfini 飾）人過中年，對(duì)現(xiàn)有一成不變且枯燥乏味的生活逐漸感到厭倦。性感奔放的紅發(fā)女郎圖拉（Kate Winslet 凱l溫斯萊特 飾）適時(shí)闖入尼克的世界，他的激情被重新點(diǎn)燃，并瘋狂迷戀上這個(gè)令人捉摸不定的尤物。 尼克的妻子凱蒂（Susan Sarandon 飾）是個(gè)堅(jiān)忍的賢妻良母，她靠剪裁衣服貼補(bǔ)家用，還要照顧丈夫和三個(gè)叛逆的女兒。尼克的出軌令凱蒂大為失望，隨之而來的爭吵更將他們的婚姻推向破裂的邊緣。 兜兜轉(zhuǎn)轉(zhuǎn)，走走停停，在露水姻緣消逝無蹤之際，尼克才幡然醒悟，懷念起家的溫暖 ; 　　

同類推薦

歌舞大王齊格飛

威廉·鮑威爾,瑪娜·洛伊,路易絲·賴納,弗蘭克·摩根

 羅伯特．Z．倫納德導(dǎo)演的這部影片以百老匯最大的歌舞團(tuán)——齊格菲歌舞團(tuán)的創(chuàng)辦人佛羅倫斯．齊格菲的生平為題材，是三十年代好萊塢歌舞片黃金時(shí)代的重要代表作之一。當(dāng)時(shí)獲得了第九屆奧斯卡最佳影片等三項(xiàng)大獎(jiǎng)，女星路易絲．萊娜演出齊格菲的首任妻子，獲最佳女主角獎(jiǎng)。齊格菲年輕時(shí)是雜耍節(jié)目中表演的藝人。1893年到百老匯發(fā)展，建立了歌舞團(tuán)的知名度，1907年創(chuàng)辦了以美女盛裝演出大型歌舞著稱的齊格菲歌舞團(tuán)，贏得歌舞大王的稱號(hào)。齊格菲一角由威廉．鮑威爾擔(dān)綱演出，男女主角都表演得很好。

三天

樸新陽,李民基,李來

　　樸信陽飾演父親車勝道（音譯），李民基（李暋起）飾演潘神父（姓為音譯）?！　≡撈v述在為女兒舉辦葬禮的三天時(shí)間中，與寄生在死去女兒心臟中突然蘇醒的惡魔進(jìn)行斗爭的超自然電影。

異形怪胎 2

Michele Greene,Robin Curtis,Scott Valentine

　　一個(gè)邪惡的生育實(shí)驗(yàn)創(chuàng)造了一代扭曲的孩子。 一個(gè)無情的女人在破壞這些突變的嬰兒之前已經(jīng)做好了這件事，摧毀了這個(gè)世界！ 一個(gè)母親和她唯一的朋友在愛之間被撕毀了這個(gè)變形的人的排斥，并準(zhǔn)備為了生存而戰(zhàn)，但這個(gè)寶寶不需要愛。 它被編程為不惜一切代價(jià)生存。

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.

自由萬歲

華萊士·比里,里奧·卡利羅,菲伊·雷

 In this fictionalized biography, young Pancho Villa takes to the hills after killing an overseer in revenge for his father's death. In 1910, he befriends American reporter Johnny Sykes. Then a meeting with visionary Francisco Madero transforms Villa from an avenging bandit to a revolutionary general. To the tune of 'La Cucaracha,' his armies sweep Mexico. After victory, Villa's bandit-like disregard for human life forces Madero to exile him. But Madero's fall brings Villa back to raise the people against a new tyrant...