即刻觀影
劇情賞析
編輯推薦
猩球崛起3：終極之戰(zhàn)
安迪·瑟金斯,伍迪·哈里森,斯蒂夫·扎恩,卡琳·考諾娃,阿米爾·米勒,泰瑞·諾塔里,泰·奧爾森,邁克爾·亞當(dāng)思韋特,托比·凱貝爾,加布里埃爾·查瓦里亞,朱迪·格雷爾,莎拉·坎寧,德文·達(dá)爾頓,阿萊克斯·潘諾維奇,亞歷桑德羅·朱利安尼,馬克斯·洛伊德-瓊斯,蒂莫西·韋伯凱撒（安迪·瑟金斯 飾）領(lǐng)導(dǎo)的猿族將被迫與殘暴的Colonel（伍迪·哈里森 飾）領(lǐng)導(dǎo)的人類軍隊(duì)上演一場生死大戰(zhàn)。猿族在戰(zhàn)斗中遭遇了前所未有的重創(chuàng)，由此激發(fā)了凱撒內(nèi)心中黑暗的一面，心中燃起復(fù)仇的烈火。最終，凱撒與Colonel面對(duì)面進(jìn)行了一場關(guān)乎猿族和人類命運(yùn)的終極之戰(zhàn)。
箱男
永瀨正敏,淺野忠信,佐藤浩市,白本彩奈,澀川清彥,中村優(yōu)子,川瀨陽太這部1973年的小說由安部公房創(chuàng)作，講述了一位無名男子放棄自己的身份，頭頂一個(gè)大紙箱生活的故事。在東京街頭游蕩時(shí)，他遇到了各種各樣的人物。
安·李的遺囑
阿曼達(dá)·塞弗里德,托馬辛·麥肯齊,劉易斯·普爾曼,克里斯托弗·阿波特,蒂姆·布雷克·尼爾森,馬修·比爾德,斯塔西·馬汀,維奧拉·佩雷特約翰,斯科特·漢迪,斯科特·亞歷山大·楊,杰米·博吉奧,米麗-蘿絲·克若斯莉,大衛(wèi)·卡勒這部電影設(shè)定在18世紀(jì)的英格蘭，并“靈感來源”于真實(shí)事件，是一部關(guān)于宗教領(lǐng)袖安·李（Ann Lee）的“史詩寓言”，安·李是謝克教運(yùn)動(dòng)的創(chuàng)始人，且被她的追隨者宣稱為“女性基督”。
一個(gè)明星的誕生1937
珍妮·蓋諾,弗雷德里克·馬奇,阿道夫·門吉?dú)W,梅·羅布森,安迪·德懷恩,萊昂內(nèi)爾·斯坦德,歐文·摩爾,佩吉·伍德,埃德加·肯尼迪,J·C·紐金特,吉恩·威廉姆斯,簡·阿克,Eric Alden,歐文·培根,Jane Barnes,文斯·巴尼特,克拉拉·布蘭迪克,韋德·博特勒,西德尼·布雷西,Harry C. Bradley,Lynton Brent,海倫·查德維克,喬治·錢德勒,Virginia Dabney,Billy Dooley,赫伯特·埃文斯,雷克斯·埃文斯,帕特·弗萊厄蒂,弗朗西斯·福特,Tri艾斯特（珍妮·蓋諾 Janet Gaynor 飾）是懷揣著成名的夢(mèng)想，剛剛步入好萊塢發(fā)展的年輕女演員，在大明星諾曼（弗雷德里克·馬奇 Fredric March 飾）舉辦的慈善演出中，艾斯特大放異彩，成為了萬眾矚目的焦點(diǎn)，而她和諾曼之間也相互吸引，漸漸產(chǎn)生了感情，就這樣，兩人走到了一起。諾曼用自己的人脈幫助艾斯特創(chuàng)造了一些演出機(jī)會(huì)，而艾斯特本身就是一個(gè)悟性非常高的女孩，擁有絕佳的表演天賦，沒過多久，她就成為了冉冉升起的新星，未來可期，前途無量。但相對(duì)的，艾斯特的成名反襯出了諾曼的過氣，他酗酒的毛病讓他的星途屢遭滑鐵盧。雖然妻子的優(yōu)秀令諾曼感到自豪，但沮喪和挫敗感亦在無時(shí)不刻的折磨著他。
舞臺(tái)恐嚇
明妮·德里弗,米特·洛夫,艾莉·麥克唐納,道格拉斯·史密斯,肯特·諾蘭炎炎夏日，一輛輛黃色的校車載著熱愛歌唱和舞蹈的青年男女來到了一處郊外的夏令營。孩子們興致勃勃，渴望在這里盡情釋放對(duì)音樂的熱愛。今年年輕導(dǎo)演阿特·蓋茨雄心勃勃，決定將十年沒有排演過的經(jīng)典名作《歌劇魅影》搬上舞臺(tái)。這一消息，令在廚房幫廚的卡梅拉（艾莉·麥克唐納 Allie MacDonald 飾）和巴迪（道格拉斯·史密斯 Douglas Smith 飾）深受觸動(dòng)。原來十年前，姐弟倆那身為著名歌劇演員的媽媽在《歌劇魅影》的演出后被人殺害。該事件讓他們封閉了自己，可是卡梅拉無法抑制心底對(duì)歌唱的渴望，終于她鼓起勇氣報(bào)名參加了女主角索菲婭的遴選。然而伴隨著她走向陽光，十年前那個(gè)恐怖惡魔似乎也從沉寂中醒來…… 本片根據(jù)真實(shí)事件改編。
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.