剧情简介
跟她男朋友分手时,知道他有一个妻子。直到有一天,她遇到了一位画家和他带他回家。在这个房子里有很多事情开始发生了......
为你推荐
贞子大战碟仙
黄焱明,赵紫彤影片主打悬疑惊悚,将中日鬼神文化脑洞大开的融合在一起,两股势力的对战让影片过程惊喜不断。高颜值与精良的制作让这部电影成为难得的网络大电影佳品。 影片破天荒的将贞子与碟仙两个角色设置成为撕逼对抗,增添了影片的可看性。人性化的处理、悬疑的升级、科学合理的解释和恰到好处的惊悚效果,让影片回归到了十分理性的逻辑上。主演们均是养眼的俊男靓女搭配,身着统一的校园制服清新亮丽,让一些男性观众对《贞子大战碟仙》无可挑剔
公寓管理员
帕特里克·约翰·弗吕格,方·基默,路易莎·克劳瑟,保罗·本-维克托,尤尔·瓦斯克斯,梅丽莎·博洛纳,金·迪莱克特,阿曼达·沃伦,斯坦·德米多夫,卢克·爱德华兹,艾丽克斯·埃索,Mattea Conforti,泰勒·理查森,Andrea Lynn Green,Travaris Spears,奥基里特·奥诺多瓦Saban Films拿下方·基默、帕特里克·约翰·弗鲁格(《芝加哥警署》)主演影片[公寓管理员](The Super,暂译)北美发行权。导演施特凡·里克([月之阴面]),编剧约翰·J·麦克劳克林([黑天鹅]),故事围绕一位公寓管理员调查纽约一栋豪华公寓住客失踪案展开。迪克·沃尔夫(《法律与秩序》)担任制片。
别走
斯蒂芬·多尔夫,梅利莎·乔治,西蒙·德兰尼,加文·欧康诺,莱勒·罗迪,肖恩·马洪,Aoibhinn McGinnity,Grace Farrel,Des Cave,Luke Griffin,夏洛特·布拉德利,Laurence O'Fuarain,Sahar Ali,Ella Connolly,Grainne Coyne梅利莎·乔治、斯蒂芬·多尔夫主演的[别走](Don't Go,暂译)柏林电影节曝光首款剧照。该片故事讲述本(斯蒂芬·多尔夫饰)的女儿在事故中去世,而他相信自己可以在梦里将女儿带回来。本从此陷入现实和虚幻交错的空间。该片爱尔兰将于9月4日上映。
莎拉的石油
扎克瑞·莱维,Naya Desir-Johnson,索尼夸·马丁-格林,加瑞特·迪拉胡特,梅尔·罗德里格斯,布里吉特·瑞根,斯特里奥·萨万特,Marco Fuller,汤姆·欧默,玛利亚·米切尔,Ryan O'Quinn,罗伯特·古德曼,乔纳森·利普尼基一个出生在印第安区的黑人女孩意外继承了一片充满石油的土地,汹涌的黑金下,她将面对攫取、迫害、偏见、中伤,并用她的意外横财去帮助他人。
窥镜
尼古拉斯·凯奇,罗宾·汤尼,马克·布鲁卡斯,厄尼·里夫利,雅克·格雷尼古拉斯·凯奇出演独立制作惊悚片《窥镜》(Looking Glass,暂译)。导演为曾拍摄多部MV及广告的多里·奥斯科维兹,编剧杰里·莱普、马修·怀尔德。一对夫妇在经历生活伤痛后买下了荒郊僻壤一处汽车旅馆,他们此举是为了探秘旅馆一个房间内发生的一系列无法解释的怪事。影片今秋开机。
道师爷
梁家仁,林枫烨,楼南光,付赫安琪民国时期,一代奇人关师爷(梁家仁饰)行走江湖,巧遇妖狐作祟,斗法降妖,因此结识了,逢赌必输的叶飞(林枫烨饰),二人联手救人,关师爷斗法妖狐(付赫安琪饰),就此结下不解之缘。此事过后,关师爷巧妙化解青楼缠怨,为死去的冤者伸冤,却再次与怪事缠身的叶飞相遇,于是,上演了一出“叶飞棒打偷鸡贼,黄仙寻仇斗师爷”的故事。
等待方舟
耶日·斯图尔,克里斯提娜·杨达,卡里娜·谢鲁斯克,马里乌什·德莫霍夫斯基,马雷克·瓦尔切夫斯基,扬·诺维茨基,亨里克·比斯塔,莱昂·涅姆奇克,克兹佐夫·马扎克,斯坦尼斯瓦夫·伊加尔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.