即刻觀影
劇情賞析
編輯推薦
愛情儲蓄罐
宋仲基,韓藝瑟,李相燁,申素率智雄（宋仲基 飾）大學畢業后便整日游手好閑。某天他認識了從對面天臺跳過來撿瓶子的怪女人紅實（韓藝瑟 飾）。守財如命的紅實盯上了智雄住所的搬遷費，她暗中找到智雄的房東，把租房合同改到自己名下，令智雄無家可歸?？吹綄Ψ揭琅f樂觀的樣子，受到觸動的紅實承諾幫助他在短期內攢到巨款。毫不知情的智雄對紅實的“善心之舉”懷抱感激。他開始學習無條件聽從紅實的命令，但是時常暴露的敗家本性又總會惹惱紅實?！ 〖t實雖然異常吝嗇，內心深處卻也有著女人的夢想。她把辛苦攢到的錢交給意中人（李相燁 飾）托管，期望有一天能成為配得上對方的好女人。卻不料一日意中人與情人攜款逃跑，令紅實深受打擊。而智雄也終于得知當初無家可歸的內幕，感到被利用的他是否會原諒紅實？
幽閉空間
杰森·帕特里克,路易莎·克勞瑟,馬克·馬戈利斯THE CONFINES is a claustrophobic thriller that follows a troubled young woman who, in a last-ditch effort at getting her life together, takes a job working nights as a security guard at an abandoned luxury apartment building. Stuck with a brusque rent-a-cop as her partner, she tries to not let her mind play tricks on her while she patrols the empty halls. But as the night progresses strange things begin to happen - and she realizes it may not all be in her head.
樂開懷
米歇爾·菲佛,菲麗希緹·瓊斯,科洛·葛蕾絲·莫瑞茲,伊娃·朗格利亞,詹森·舒瓦茲曼,丹妮爾·布魯克斯,茉德·阿帕圖,丹尼斯·利瑞,多米尼克·塞薩,陳沖,哈瓦娜·羅絲·劉,黛芙芮·雅各,海蒂·納賽爾,塞爾吉奧·杜克,伊桑·科斯塔尼拉,賽迪·司各特,Rashal James,杰西賈姆斯·洛科里埃,羅克茜·里韋拉,Audrey Hui克萊爾（米歇爾·菲佛 飾）組織了一次特別的圣誕郊游活動，而她的家人卻在忙碌中將她遺忘。當他們意識到錯誤時，她已經失蹤了。他們的圣誕節岌岌可危，但克萊爾另有打算。
金剛不壞2024
喬杉,柳巖,梁龍,孫陽,楊新鳴,桑平,劉長純,代樂樂金剛回到了自己曾經生活的地方，然而一切早已物是人非。這時，一起拐賣兒童的事件意外發生，金剛以一個局外人的身份開始尋找被拐的女孩，在這個過程中他的過往也依舊在糾纏著他…… 金剛將不得不面對自己最不愿意正視的傷痛……
籠困
Arié Elmaleh,Zoé Félix,Goran Kostic20年前，社會主義國家南斯拉夫解體，奉行主義的更迭并未改變東歐這片多災多難土地的命運。戰火持續，人民罹難。時至今日，硝煙仍未從這里散去?？ㄌ}爾（祖兒·費利克斯 Zoé Félix 飾）、馬提亞（埃瑞克·薩文 Eric Savin 飾）、薩米爾（Arié Elmaleh 飾）是來自法國的救援小組成員。在完成任務后，他們驅車返回祖國。然而必經之路上有士兵把守，為了不浪費時間，薩米爾建議抄小路前進。這一決定將他們引入一條黑暗之途，行至半路，三人被一群全副武裝的不明身份者綁架。在此后的數日內，他們全被關在不見天日的籠子里?！ τ趯Ψ降膭訖C卡蘿爾他們全然不知，只有無盡的恐懼伴隨左右，而死神的腳步也在慢慢逼近……
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.