爱奴1972
教书匠之女爱奴（何莉莉饰）被拐卖到妓院“四季春”，因其容貌脱俗，个性刚烈，遂得鸨母春姨（贝蒂饰）另眼相艾旦影视,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。
即刻观影
剧情赏析
编辑推荐
后座
哈利·米尔林,亚历山大·斯卡斯加德,道格拉斯·霍奇,莱斯利·夏普,安东尼·威尔士,杰克·谢尔斯,Miranda Bell,比利·金,Rosie Sheehy,Stevie Raine,乔治娅·赫利尔,杰克·夏普,Michael 'Mike' Jones,尼克·菲吉斯,卡夫奇奇·米哈,保罗·塔利斯,Kevin Bazeley,Christina Carty,扎米尔·梅斯蒂,Jacob Carter弱不禁风的男子Colin（哈利·米尔林 Harry Melling 饰）遇上英俊无比的摩托车俱乐部首领Ray（亚历山大·斯卡斯加德 Alexander Skarsgård 饰），Ray将Colin收为他的submissive，并带他走近一群古怪的酷儿摩托车手，过程中各种收割童贞。但随着Colin深入Ray的那个充满规则和神秘的世界，他开始质疑自己是否真正适合这种当全天候submissive的生活。他是真的找到了自己的使命，还是仅仅用一种“窒息”的人生换了另一种？
养鬼吃人7
卡瑞·伍尔 , 保罗·瑞斯 , Simon Kunz《伦敦地下城市》一个女记者被派遣到罗马尼亚首都布加勒斯特调查一个地下自杀邪教“死魂灵”。她很快就陷入了他们的黑暗世界，无法找到回头路，从而被迫加入他们，迎接一项极为恐怖的事情... ...
安娜和世界末日
艾拉·亨特,马尔科姆·卡明,莎拉·斯维尔,克里斯托弗·莱沃,玛里·休,本·威金斯,马克·本顿,保罗·凯耶,肖恩·康纳,约翰·温切斯特,艾拉·贾维斯,杰基·伯德一部混杂音乐剧和丧尸电影的喜剧片，这部僵尸歌舞片的框架基于2010年英国电影学院奖获奖短片《僵尸音乐剧》（暂译）（ZombieMusical），讲述了一大波僵尸穷追猛打一撮人，他们边唱边打，不断求生的故事。电影取景地为苏格兰，由艾拉·亨特出演安娜，马克·本顿饰演安娜的父亲，保罗·凯耶出演反派。
捉鬼合家欢
郑则士,利智,王小凤,吴君如,楼南光,江欣燕,张立基,陈龙,成奎安诸葛孔平（郑则仕 饰）乃诸葛亮第十八代子孙，他精通天文地理，平时还爱搞些发明创造，不断钻研捉鬼新法。而孔平之妻王慧（王小凤 饰）亦精通名理，功力了得，却又是一善妒之人，经常怀疑丈夫与他的师妹（利智 饰）旧情未了，醋意大发。灵幻界败类天下第一茅（楼南光 饰）嫉恨诸葛孔平的才能，以“西双版纳铜甲尸”为诱饵设下圈套，以图破坏孔平功力。孔平虽尽力对阵，却因老婆和师妹争风吃醋难有所成。而铜甲尸更破坏诸葛家的封鬼库，惹得群鬼出笼……
大明嫔妃之困斗
宋洋,何杜娟,朱一龙,陈一诺十年之后，新太子妃因病去逝，留下一子朱由校，太子消沉，王恭妃常年生病，三皇子回京被册封，姚芊芊被囚禁……郑贵妃誓要夺取太子之位。王恭妃心急如焚，情急之下，梅儿说出兰心并没有死，并回忆：原来兰心并没有疯，因为她无法面对太子，请求梅儿放她走，于是梅儿送走了兰心，并说出兰心一直住在莲花庵。王恭妃不顾病体，拼死恳求兰心归来，兰心最终答应了王恭妃。后王恭妃逝世。郑贵妃安排万历并不知情。兰心趁机偷偷面见，告知王恭妃的死讯，最终兰心去了吉壤，半夜三更，道士刺杀太子，梅儿追踪，结果摔下山，兰心赶到，救了太子，太子晕迷，并在山下发现了梅儿……太子醒后与兰心相认了，后来兰心无意中说漏嘴，无奈告诉了太子事实的真相，太子伤心欲绝。万历把郑贵妃叫到跟前，斥责对王恭妃的死讯隐瞒不报，并且万历知道郑贵妃派人行刺一事， 郑贵妃被禁足。最终按皇贵妃的礼制厚葬了王恭妃
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.