勾魂降頭
南洋一帶盛傳有一種駭人聽聞的落頭奇術,這種迄今尚無法尋到科學依據的巫術,不但能奇異地操縱人們的生死與噯情,而且還能用來處理任何事件或是改變人們的命運。這種不可思議的落頭奇術,是一種充滿戲劇xing的最佳電影題材。導演何夢華繼《落頭》后,又以該片原班人馬拍攝《勾魂落頭》,原因是星馬觀眾對;落頭片 反應熱烈。據許多資料顯示,通常落頭師傅作法丅落頭,主要是在人身上涂抹一種奇異的落頭油,并進行一種奇異的念咒、燒符和焚化香燭冥紙等儀式。至于那種奇異的落頭油,傳奇是落頭師在死亡不超過四十八小時的處女身上,用香燭燃燒出來的一種油脂產品。何夢華的落頭片就是以這種奇異的故事為藍本。大意是描述一個家財萬貫的俏寡婦,不理羅烈的熱烈追求,而對英俊的小伙子狄龍情有獨鐘,竟不惜犧牲自己的色相以及大筆錢財,收買了一個法力高強的邪派落頭師,在狄龍與戀人李麗麗進行婚禮的前夕,向狄龍丅了;噯情落頭于是就像奇跡一般,在盛大的婚禮進行之中,狄龍發覺自己的新娘突然變成了丑八怪,遂身不由主地跟著天仙化人似的恬妮走出了禮堂。最后李麗麗費盡了功夫,也尋到一個心地善良的落頭師,于是一邪一正各顯神通,李麗麗終于重新獲得她的新郎.
在線看
同款熱播
哨兵
邁克爾·帕爾,杰森·R·摩爾,Ellie Patrikios,Denitza Diakovska,Neil Cole,Paolo Mazzini,John Stewart Arnold,Ivan King在外星人入侵幾乎滅絕人類的幾年后,人類難民在月球上的一個秘密基地,三個英雄決定跳入時間旅行,不顧一切地試圖拯救幸存者,但他們不知道哨兵正在等待他們。
狼蛛
約翰·艾加爾,里奧.G.卡羅爾,克林特·伊斯特伍德本片是美國50年代一部優秀的科幻片。導演Jack Arnold運用特效,讓一只小小的蜘蛛在銀屏上變成一只體形龐大的塔蘭圖拉毒蛛。影片中的塔蘭圖拉毒蛛是一只十分可怕的怪獸,它四處破壞,但始終免不了滅亡的命運?! 〗浀淇苹闷瑥娏彝扑]!
阿特拉斯聳聳肩3
克里斯托弗·普拉哈,勞拉·里根,喬昆姆·德·阿爾梅達,艾瑞克·阿蘭·克拉默,羅伯·莫洛國家的經濟正在快速崩潰,罪犯和黑暗勢力控制了整個國家,政府已經無能為力,一個女人有了答案,她和其他人會不惜一切去找到他。他是誰?他是約翰.高爾特。本片獲得第35屆金酸莓獎提名最差翻拍、節選與續集。
三個神探與喀爾巴阡之犬
Florentine Behrend,Levi Brandl,菲利普·克里斯托弗,Luis Dyangani,西拉-安娜 法爾,Mapi Plácido,Filip Schnack...
怒獸出籠
丹尼爾·麥克弗森,盧克·海姆斯沃斯,羅素·克勞,布倫·福斯特,莫讓·阿里亞,馬特·納夫萊,凱莉·蓋爾,內森·菲利普斯,Amy Shark,埃莉扎·德蘇扎,CJ·布隆菲爾德,喬治·布吉斯,Callan Colley,Saphira Moran,George Tilley,Liam Resnekov,羅基·弗里杰里奧,Alex BallesterosStory follows an out-of-work steel worker as he struggles to provide for his family and avenge his brother's death by fighting in a mixed martial-arts match against a dangerous opponent.
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.