两栖人
弗拉基米尔·科列涅夫,安娜斯塔西亚·维尔金斯卡娅,米哈伊尔·科扎科夫,尼科莱·西蒙诺夫,弗拉德连·达维多夫
显赫富商一原高显(北村总一朗 饰)病故,他的亲属们齐齐来到高级日式客栈“回廊亭”举行断七法事,当然最令他们关心的还是遗产分配事宜。每个人都心怀鬼胎,渴望获得最大利益,也格外防备着其他人的算计,所谓亲情变得不值一提。就在这一关键时刻,一名神秘而美艳的女子突然出现在一原家面前,她自称本间美代子(常盘贵子 饰),是与死者生前颇有渊源的老婆婆的女儿。夜深人静,做梦发财的贪婪之人没有等到他们的遗产,反而等来死神的光临。破灭的爱情,破败的人生,曾经种下的恶缘种子,在回廊亭开始发芽。 本片根据东野圭吾的原作小说改编。
▶ 立即观看黄建新
刘镇伟
肯·罗奇
陈果
袁和平
塞尔乔·莱翁内
在毫无征兆的一个晴朗日子,一枚导弹笔直飞来,将国际大都会东京都内极具代表性的彩虹桥炸为两截。该事件在都内引起不小的骚动,此后不久,警视厅公安部外事三课的警部高畑慧(高岛礼子 饰)带着相关视频资料找到藤田继次(筧利夫 饰)所统率的特车二课,经分析发现这次袭击来自于那架自卫队不久前失窃的新型战斗直升机AH-88J2改“灰色幽灵(Grey Ghost)”。经高畑之口得知,该恐怖事件与拓植行人、灰原零(森カンナ 饰)有直接的关系。而在纷乱的实践中,特车二课则面临着被撤消的危险。 东京一千万人口沦为暴动分子的人质,面对前所未有的危机,泉野明(真野惠里菜 饰)和她的LABOR能否力挽狂澜?
佐藤铃(道本成美)为了逃避母亲(南久松真奈)的过度干涉,在川上信夫(泉知束)的引导下,前往东京的一处房产进行内览。尽管被告知前住户山本孝雄(岩永ひひお)因欠租而失踪,铃仍被这处优质房产所吸引。信夫提议她单独继续内览时,铃顺从了他的建议。然而,她在房中听到某种不祥的声音,被引导着打开了一扇通往异世界的门,随后被强行拉了进去。醒来后,她发现自己身处一座荒废的巨大建筑中,迷茫中遇到了自称山本孝雄的男子。这个空间被某个怪物所支配,既无法逃脱,也无法死去,真正的无间地狱。
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.