松树博尔
1960年初,法国拉布勒海滨度假艾旦影视,海外影院,海外影视,海外YY,海外抢先电影,海外手机影院,海外影院APP,海外中文影视,海外影视网,海外华人影院,海外影院tv,蛋蛋电影网,海外福利影院,haiwaiyingyuan。弗雷德里克和索菲姐妹在家庭教师奥黛特陪同下,与她们的姑姑贝拉、姑夫雷奥蒙代、表兄妹达尼埃尔、苏珊、勒内和迪蒂一同度假。她们的父亲米歇尔留在里昂照看生意,母亲莱娜则神秘地去了巴黎。弗雷德里克在日记中倾吐出内心的秘密:她被大表兄达尼埃尔迷住了。几年前他还是个孩子,现在却已长大大人,颇有男子魅力。后来,苏菲说莱娜和米歇尔要分手了。弗雷德里克把这件事写入日记,并对此而不知所措。两个女孩子在电话里向她们的母亲莱娜抱怨奥黛特看管她们的方式,哭诉她们对妈妈的思念。莱娜告诉贝拉和雷奥她要离开米歇尔,并且已经为自己和女儿们在巴黎找到了房子。她还告诉贝拉她有个情人...
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永恒站
迈尔斯·特勒,伊丽莎白·奥尔森,卡勒姆·特纳,约翰·厄尔利,达明·乔伊·伦道夫,贝蒂·巴克利,杰夫·桑卡,潘塔·莫斯勒,布雷迪·德鲁利斯,欧嘉·梅雷迪斯,塞巴斯蒂安·比林斯利-罗德里格斯,诺亚·布罗姆利,欧佳·佩斯塔,珍妮·克鲁蒂尔,巴里·普赖默斯,埃里克·高,露西·特恩布尔,大卫·Z·科恩,丹尼·麦克,凯尔·沃伦影片构建了一个妙趣横生的死后世界观:人离世后将抵达一个连接无数“永恒世界”的中转站,一旦选择就无法改变。故事始于赖瑞(迈尔斯·特勒 饰)被蝴蝶饼噎死的荒诞开场,他在中转站重获青春,等待妻子琼安(伊丽莎白·奥尔森 饰)的到来。然而琼安到来后,却面临新的难题——她在战争中阵亡的前夫卢克(卡勒姆·特纳 饰),竟已在此苦候她67年。 两个男人为了获得琼安的最终选择, 展开了一系列令人捧腹的“竞争”,各种啼笑皆非的较量让本该严肃的永恒抉择变成了一场妙趣横生的“爱情竞赛”。面对车站里呈现的琳琅满目的人生可能,一边是共同走过漫长岁月、充满柴米油盐记忆的现任丈夫;一边是曾令她刻骨铭心、苦候她67年的前度挚爱, 琼安必须做出最终的选择:与谁携手, 共赴永恒?
“骑”逢对手
那馨,李梦男,任悦鸣,庞统,闫震宁,陈家葆影片讲述善良的外卖骑手刘大鹏偶然救了一位富翁,对富翁千金马小芸一见倾心,而马小芸正陷入一场险恶圈套中,刘大鹏挺身而出,帮助马小芸战胜邪恶的故事。
喜马拉亚星
郑中基,张柏芝,刘青云,应采儿,吴镇宇,黄又南,徐天佑,李兆基,黄光亮,成奎安在喜玛拉雅山长大的亚星(郑中基)练有一身瑜伽好功夫,某日奉父母之命下山参加印度西施家族举办的瑜伽选夫比赛的途中,被恨嫁的大家姐(应采儿)缠住。为了阻止亚星参加比赛,大家姐想出把他变成人见人厌的坏小子的狠招,不想联合三大恶人也没能将亚星改变,不甘心之下,大家姐又找来以坏混世的大胆叔叔(吴镇宇)。 可惜大胆叔叔与朋友惊青舅父(刘青云)及其两个外甥已不幸被印度催眠术催眠,连自己是谁都不再晓得,然而亚星总算找到了领门人,赌场的两头神蛇把他教成了沉迷于赌博和吸毒的坏小子,此时,大家姐发现还是原来的亚星比较好,决定陪其一同喝下“印度神奇油”回到从前。
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.