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發財秘笈
李美鳳,鄭文雅,楊寶玲,黃百鳴,黃秋生身體集合.zip
金玟錫,金彩恩,權雅凜,姜俊圭,金亞炫,趙宇麗浴血黑幫:不朽傳奇
基里安·墨菲,麗貝卡·弗格森,蒂姆·羅斯,蘇菲·蘭朵,奈德·丹內利,派克·李,伊恩·佩克,杰伊·利庫戈,巴里·基奧恩,斯蒂芬·格拉漢姆,薩米·喬納斯·希尼,魯比·阿什伯恩·瑟金斯,山姆·貝克-瓊斯,卡斯珀·希爾頓-希勒,馬丁·安格鮑爾,馬克·威爾金森,托馬斯·阿諾德,安迪·M·米利根,羅利·威爾遜,馬克斯·凱文漢姆尋愛之旅
麥克·辛,馬克·阿蒂,吉姆·卡特,馬克·斯特朗圣母瑪利亞
安妮·海瑟薇,米凱拉·科爾,亨特·莎弗,小枝女孩,雅典娜·弗里澤爾,凱雅·基伯,杰西卡·布朗·芬德利,伊紹拉·巴貝-布朗,阿爾芭·巴普蒂斯塔,茜安·克利福德,帕里納斯·埃斯梅爾薩德,勞拉·米金,朱莉婭·斯托爾巴,丹尼·維塔勒從前有位國王
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壞繼母
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天山玉女劍
黃秋燕,溫兆倫,楊麗菁,關秀媚,湯鎮業,惠英紅,關海山外星人2025
Annie Ngosi Ilonzeh·Marques Houston·Erica Mena·Drew Sidora·Erica Pinkett·Ken Lawson·Claudia Jordan·Obba Babatundé·Jensen Atwood·Taymour Ghazi·Mark Holzum·Jaime Alvarez·Daniel Rodger·Ashton Williams·Lincoln Blake·Dog屈從
梅根·福克斯,米凱萊·莫羅尼,瑪德琳·奇瑪,瑪蒂爾達·弗思,裘德·格林斯坦,安德魯·惠普,阿塔納斯·斯雷布雷夫,瑪納爾·埃爾-費圖里,安東尼·達維多夫,J·R·埃斯波西托,羅納克·帕塔尼,特雷弗·范烏登,凱特·尼科爾斯,王可欣,德雷克·莫斯,萊斯·韋爾登,馬克斯·克勞斯,艾登·霍萊特,尤安·邁克納頓,沃利扎·比尼夫火中金
張桐,侯天來,李易祥影視排行
看不見的女兒
阿登·楊,茱莉亞·莎拉·斯通,Camille SullivanA man, who years earlier mysteriously abandoned his family and isolated himself in a small northern town, returns for one last chance to reconnect with his troubled daughter. When she goes missing, he risks everything to find her, including exposing the fact that he is becoming invisible.
不過是上班
吳俊霆,李孝謙,安娜,周德華,合文俊,小愛,帕賽,孫天宇,李逗逗,李川,丁冠森,王藝禪,陳思斯一旦領導冒出一句“什么狗屁方案”,你的人生就將陷入無盡循環.....重復的職場里,有人摸魚擺爛,有人趁機搞事,直到同事離奇 “消失”,他才發現循環背后藏著公司要命的秘密——想活下來,得先在重復的日子里找到出路……
她不是我媽媽
Artika Sari Devi,奧羅拉·里貝羅,阿里·菲克里,Fara Shakila,Husein Al Athas,Dian Sidik,Sita Nursanti RSD,Khiva Rayanka故事圍繞一對姐弟 Vira 與 Dino 展開;在父母離異后,他們與母親共同生活,卻發現母親逐漸“變了”。母親癡迷使用所謂的 “ajian” 和 “rajah”(護身符或咒語)為生意帶來好運,卻漸漸伴隨著奇怪的暴力行為與精神崩潰
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.