商務囧途

简介：生態學專家、恐怖分子諾亞在北海油井平臺上按裝了兩枚炸彈。他威脅政府說，如果不馬上停止核試驗，他就引爆炸彈。當地有成百上千的大人和兒童。這是聖誕前夕。政府不會妥協。一場暴風雨破壞了人員疏散計劃。兩名拆彈專家到達了油井。一個被炸死。另一個，是個年輕女人，從沒拆過炸彈。她有勇氣嘗試嗎？她能找到幫手拆除另一個炸彈嗎？她知道諾亞的炸彈從來沒有人拆除過嗎？可是她還是義無反顧地朝炸彈走去。

简介：A DEA agent with PTSD returns home after a botched mission and must now protect his family from a home invasion after a recently freed convict and his henchmen come after their stash of millions inside of the agent's home.

简介：记者保拉为了追求杀害男友里沙尔的真正凶手，来到了亚特兰提克城，这是一个深受美国文化影响的地方，之后出现了一大堆像唐纳德、里查德、维德马克、多丽斯.沟口……有着怪名字的怪人。保拉在追寻真相的过程中，还卷入了政治阴谋和黑帮事件中。　　法国新浪潮电影大师戈达尔把美国好莱坞黑帮电影的所有元素用在这部非常刻意的政治恐怖片中，明显向该类型的大师萨缪尔富勒、尼古拉斯雷、霍华德霍克斯等做了模仿式的致敬，片中还涉及许多真实的政治背景和暗杀事件。整部影片虽然显得情节荒唐，较为做作，但导演通过流行音乐（其中一首是《北非碟影》中的“时光流逝”）、广告插画、气氛处理等方法展现深受美国流行文化影响和主导下的法国社会景象。以《美国制造》为标志，戈达尔的政治批判意识进入其后期阶段。他将电影的叙事惯例当作现实政治在电影艺术门类中的主要表现而加以痛烈的反对。为此，他对电影的表现手段进行了极富挑战性的探索。

简介：图里奥公爵（吉安卡罗·吉安尼尼 Giancarlo Giannini 饰）迎娶了美丽的妻子秋丽安娜（劳拉·安托妮莉 Laura Antonelli 饰），虽然家有娇妻，但是天性好色的图里奥公爵还是整日在外面沾花惹草，这让年轻的秋丽安娜感到非常的寂寞。 随着时间的推移，秋丽安娜渐渐无法忍受这样压抑的生活，一次偶然中，她邂逅了一位名叫达博里奥（马克·波雷尔 Marc Porel饰）的男子。达博里奥是一位贫穷的作家，虽然身无分文，但是他的才华深深的吸引了秋丽安娜，两人渐渐走到了一起。最终，这段背德的感情被图里奥公爵所知晓，然而最让他感到愤怒的并非妻子对自己的不忠，而是达博里奥低贱的身份。

简介：广东地区的赈灾银两被八王爷所劫，并嫁祸给江洋大盗黑蝙蝠。朝廷派第一神捕杨长风查案，黄飞鸿决定助其破案。黑蝙蝠李淮南也暗中调查，要为自己洗脱冤屈。最终李淮南洗清了冤屈，黄飞鸿也因此受到了朝廷表彰。

简介：《這個大王我罩的》講述的是一個愛玩英雄聯盟的大學生不小心穿越到了幾千年前的芃國，並且魂穿到了皇上趙扶風的身體裏，偶然一次遇見了想要混進宮當軍師的敵國臥底夏蘆蒿，兩人陰差陽錯的結成歡喜冤家，朝中多方勢力暗中湧動，夏蘆蒿的真實身份也被揭穿... 一邊是戀人變敵人，一邊是皇位 難保，即使“趙扶風”對未來有着預知能力，卻依舊無法躲過充滿陰謀的宮廷鬥爭。

简介：摄影师工藤太郎在坐飞机的途中发现一架太空囊坠入大海，那正是4个月前离奇失踪的无人木星探测器赫利俄斯7号。回国后的工藤接到陪同开发公司调查队前往塞吉欧岛的工作，而塞吉欧岛正位于赫利俄斯7号坠落地点的附近……　　另一方面，塞吉欧岛突然出现巨大的怪兽，这一切似乎和赫利俄斯7号有关……

简介：一個風雨交加的夜晚，走南闖北的嗩吶匠，挑着扁擔的賣貨郎，陰沉詭異的仙婆，一身正氣的警長，無惡不作的大盜，富甲一方的掌櫃，風韻猶存的貴婦，沉默寡言的車伕，八個身份各異的人，齊聚在一座荒野外的破廟裏避雨。長夜漫漫，閒來無事，不知是誰隨口開了個頭，衆人聊起了附近鎮子上，白沙橋下那個婦孺皆知的水鬼新娘的駭人傳說。夜半，周圍的氣氛越發詭異，怪事頻頻發生，他們不得不相信，是她回來了。水鬼復仇，新娘索命，多年前的詛咒終於應驗，破廟裏的人一個接一個地離奇死去。原來，這些人裏，或是貪財，或是好色，或是虛僞，或是怯懦，都與當年陳家那樁水鬼新娘滅門的慘案，有着千絲萬縷的關係。

简介：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.

简介：鄉下青年胡立歐來到馬尼拉，一面在建築工地忍受低薪，一面尋找青梅竹馬。然而，這座殘酷城市似乎佈下天羅地網，為了生存、為了心愛的女子，胡利歐必須賭上一切，付出代價。菲律賓殿堂級導演深刻剖析社會的經典之作，片中大膽描繪男妓同志，通俗劇情融合義大利新寫實與美國黑色電影手法，被譽為菲律賓電影史上最重量級作品。

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简介：1981年，一個偏遠山區小縣城新到任的縣委書記秦裕民發現了—樁奇案。花嶺村村會計李榮才因揭發支書賈仁貴，反被誣陷貪污而被開除，一家三口到處上訪，一告告了20年，問題沒有解決，致使老伴瘋了，兒子跑了，流浪街頭乞討爲生。秦裕民對此百思不解、義憤填膺，立即組織調查組進駐花嶺村。不久，調查組便查出賈仁貴在經濟上有嚴重的虧空，在村裏橫行霸道，魚肉百姓。於是工作組決定讓賈仁貴停職檢查。而賈仁貴居然不理睬，離家出走去向不明。爲此調查組發了賈仁貴違紀的通報並在縣報上刊登。　　對賈仁貴的處理決議一宣佈，便引起了軒然大波，來自縣委、地委的各種阻力及污陷紛紛而至，但是，秦裕民力排各種阻力，執著地清查賈仁貴的案子。艱辛的調查工作終於有了結果，賈仁貴的錯誤和違法行爲有了確鑿的證據，經縣委決定開除了他的黨籍，並登了報，民心大振，秦裕民又追查證據，徹底給李榮才平了反，安了新家。李榮才深情地說：“秦書記，我以後再也不打擾你了，讓你有更多的時間爲老百姓辦事吧!”