影片推荐
不明影像：绝对点击禁止
朴宝英,周元,江星突袭2026
杨杏,宫宏佳召唤蓝宝宝
瓦莱丽亚·圣马丁,贾斯蒂娜·塞瓦略斯,丹妮拉·弗洛姆鲍姆断魂小丑3
杰森·帕特里克,丹尼尔·洛巴克,大卫·霍华德·桑顿,劳伦·拉维拉,拜斯·约翰逊,布拉德利·斯泰克尔,克里斯·杰里科,萨曼莎·斯卡菲迪,玛格丽特·安妮·佛罗伦斯,埃利奥特·富勒姆,亚历克萨·布莱尔·罗伯逊,Antonella Rose,克里斯·福克斯,夏洛特·麦基,西耶娜·休伯特-罗斯,奇普·卡里尔,卢西亚娜·凡德特,Annie Lederman,Kellen Raffaelo,安妮·莱德曼混凝土乌托邦
李炳宪,朴叙俊,朴宝英,金善映,朴持厚,罗哲,金度允,南镇福,金学善,朴周勇亚当·桑德勒：爱你
丹·布拉,Jonathan Loughran,亚当·桑德勒,杰姬·桑德勒,罗伯·施奈德同类精选
乌鸦2024
比尔·斯卡斯加德,小枝女孩,丹尼·赫斯顿,约瑟特·西蒙,劳拉·布林,塞米·鲍亚吉拉,卡雷尔·多布雷,乔丹·博尔格,锡巴斯琴·奥罗兹科,戴维·鲍尔斯,Trigga, 桑巴·戈尔丁,伊莎贝拉·魏,乔丹·哈吉,杜卡金·波德里马吉发财秘笈
李美凤,郑文雅,杨宝玲,黄百鸣,黄秋生家有仙妻2005
妮可·基德曼,威尔·法瑞尔,雪莉·麦克雷恩,迈克尔·凯恩,詹森·舒瓦兹曼,克里斯汀·肯诺恩斯,希瑟·伯恩斯,吉姆·特纳,史蒂芬·科拜尔,大卫·艾兰·格里尔,迈克尔·巴达鲁科,卡罗尔·谢利,史蒂夫·卡瑞尔,凯蒂·芬内朗,詹姆斯·里普顿,柯南·奥布莱恩,艾米·塞德丽丝,理查德·坎德,艾德·麦克马洪,凯特·沃什,尼克·拉奇失踪谜案
塔布,安努·卡波尔,马诺杰·巴杰帕伊三天
朴新阳,李民基,李来新咒怨(美版)
安德丽娅·赖斯伯勒,德米安·比齐尔,约翰·赵,林·沙烨,贝蒂·吉尔平,威廉·赛德勒,杰基·韦佛,塔拉·维斯特伍德,佐伊·费什,弗兰基·费森,南希·索瑞尔,乔尔·加兰,布拉德利·索茨基,埃内斯托·格里菲思影视排行
苍雪麒麟
黄日莹,铭亮,琪格,郭宏庆百年前万灵古城遭黑水军团操控的麒麟居戮，女王妙清封印麒麟后难产离世。百年后，其遗孤苍雪貌丑家贫，在忠义堂备受排挤，暗恋陌千禾，机缘下救了龙族皇子诺，获三个愿望。随着假公主阴谋、麒麟解封，古城再起危机，苍雪在蜕变中揭开身世，携手伙伴对抗幕后黑手，拯救古城。
维也纳战役
F·默里·亚伯拉罕,恩里克·洛维索,杰兹·斯科利莫夫斯基,艾丽卡·巴赫蕾达-库鲁斯,彼得·亚当奇克,Andrea Iaia,克莱尔·布鲁姆,Matteo Branciamore,Marius Chivu,安东尼奥·库普,乔治·卢帕诺,菲德莉卡·马丁内莉,詹尼·穆西,达尼尔·奥勒布里斯基,伊莎贝拉·奥尔西尼,波利斯·席克,约尔戈·沃亚吉斯,山内春彦,沃伊切赫·麦克瓦尔达斯基,白兰度·帕奇托,安吉丽卡·卡琪亚帕格莉亚,马达林·德拉甘,斯蒂芬·扬库,Edward Linde-Lubaszenko,Daniel1453年，东罗马帝国陷落后，地处中欧的神圣罗马帝国，不得不直接面对土耳其人的侵扰。土耳其人热衷扩张，虽然他们信奉伊斯兰教，但他们认为他们才是真正的“罗马皇帝”，神圣罗马帝国的皇位，已由哈布斯堡王朝掌权两百年，他们是基督教世界的最后保卫者，双方再维也纳一决高下：一方信誓旦旦，另一方誓死捍卫。
迷失禁区
陈明民,梁鸿,王新宇,金晨曦...
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.