何處尋真相

評分：6.5 播放：85萬 更新：2026-04-26

八十年代，釹記者卡倫（Alison Lohman 飾）正著手調查十五年前一樁酒店兇案的真相。當事人蘭尼（Kevin Bacon 飾）與文斯（Colin Firth 飾）是聞名搭檔藝人，1972年，兩人為慈善事業籌款而進行巡回演出期間，人們在祂們的套房鈡發覺了一具釹尸卡倫先后接近兩人，得到了蘭尼的自傳手稿，蘭尼聲稱死者莫琳因嗑-過量而溺斃，但卡倫將蘭尼的生活習慣與自傳兩相佐證后發覺疑點重重。當年蘭尼與文斯事業順利，于是黑社會邀請祂們演出，某夜，校報記者莫琳同兩人上床，無意鈡發覺文斯的同xing戀傾向并以此挾制。蘭尼懷疑吸毒成癮的文斯殺死莫琳，但兩人在黑社會庇護丅都躲避了制裁。卡倫對兩人各自的陳述不置可否之際，真正的兇手卻自己浮出了水面 本片獲2006年加拿大吉尼獎最佳劇本獎。 　　

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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.

危情蜻蜓

安德麗婭·賴斯伯勒,布蘭達·布萊斯,杰森·沃特金斯

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超高效理論

拉克蘭·伍茲,David Whiteley,Jane Allsop,羅伯特·泰勒,諾亞·泰勒,Chan Griffin,Brett Cousins,Andrew Ryan,Dafna Kronental,杰西卡·克拉克,Ned Manning,Natasha Herbert,Tony Rickards,Catherine McClements,歐嘉·瑪凱耶娃,戴米恩·希爾,約翰·布魯普頓

　　一家走下坡路的澳大利亞銀行遇到了一個神秘的HR導師麥克斯·門科奧弗和他的自稱會提高公司工作效率的改革策略——把雇員變成無自我意識的工作機器。這一切正如男主角所畫的未完待續的漫畫書的故事情節一樣。男主角僥幸沒有被下藥，他試圖和女主角一同打敗壞角色、拯救同事并收獲愛情。

主謀

喬什·奧康納,阿拉娜·哈伊姆,蓋比·霍夫曼,約翰·馬加羅,比爾·坎普,霍普·戴維斯,萊齊·費利茲,馬修·馬希爾,科爾·杜曼,瑪戈特·安德森-宋,伊萊·蓋布,胡安·卡洛斯·赫爾南德斯,讓·扎爾祖爾,瑞安·霍姆奇克,威爾遜·康克賴特,凱蒂·哈伯德,史蒂文·特里·沃克,D·J·斯特勞德,格雷格·維奧蘭德,安吉爾·科恩斯

　　在天眼尚未密布，監場保安仍會打瞌睡的二十世紀七十年代，名畫大盜就是會光天化日，大剌剌走進美術館，直接把獵物從墻上取下放入布袋運走。看似兒戲的一切，背后主謀還要是住在市郊、人畜無害的住家男人。凱莉·萊卡特完全棄用好萊塢盜寶片敘事公式，改以其擅長的左翼簡約主義鏡頭，捕捉觸犯藝術罪行者的日常生活、雙面人的言行處境，以及事件周遭人情冷暖。阿瑟多夫的抽象畫作未必是一個借口，但到頭來凸顯存在荒謬的公路逃亡，儼然為觀眾添加了不少欣賞和思考的層次。