即刻观影
剧情赏析
编辑推荐
杀出魔鬼镇
丹尼斯·欧哈拉,艾狄森·蒂姆林,盖瑞·科尔,斯宾塞·崔特·克拉克,乔舒华·莱纳德,维罗尼卡·卡维特,爱德华·赫曼,约翰·威斯利·查特曼,埃德·劳特尔,阿拉贝拉·菲尔德,兰斯·E·尼克尔斯,斯塔莱特·米亚里奥尼,Morganna May,Dodie Brown,Raiden Integra美联社、《生活》杂志等著名媒体都曾报道过1964年的“月光凶杀案”，当时小镇坠入一片恐慌，一到黄昏就全镇戒严，全副武装的警察上街巡逻。直到三个月再无袭击发生，警察才逐渐撤出。1976年，曾有一部根据该案件改编的同名影片上映。两名幸存者描述凶手有六英尺高，头戴面具，只露出眼睛和嘴巴。 2014年版《杀出魔鬼镇》中，连环凶杀再度开始，面具杀手时隔六十多年重现特克萨卡纳，究竟是有人故意模仿，还是有更恐怖的事情暗中酝酿？一个孤独的高中女生，似乎知晓解开这一切的秘密。
秘密关系：最后的约束
こめおかしぐ原作の人気ボーイズラブ漫画「イッて終わりなわけがない！」を日本と台湾の合作で実写化したドラマ「秘密關係 Secret Lover」の劇場版。ドラマ版を再編集し、未公開シーンを追加した。 陸俊晞（ルー・ジュンシー）と韓拓（ハン・トゥオ）は、幼いころからいつも一緒に過ごしてきた親友。しかし、拓は俊晞への思いをずっと胸に秘めていた。大学での演劇公演をきっかけに、拓は俊晞への思いを告白し、2人は恋人同士になる。秘密の交際を始めた2人だったが、さまざまな困難に直面し、やがてその関係は大きな試練を迎えることとなる。 主演は、日台混成の4人組ボーイズグループ「BUGVEL」のメンバーであるGUNO（王君豪）と、俳優・ソロシンガーとして活躍するChance （成晞）。
猩球崛起：新世界
欧文·泰格,弗蕾娅·艾伦,凯文·杜兰,皮特·马孔,威廉姆·H·梅西,艾卡·达维尔,迪辰·拉克曼,尼尔·桑迪兰兹,萨拉·怀斯曼,莉迪亚·佩克汉,特拉维斯·杰弗里,拉斯-塞缪尔·瓦尔达布兹,尼娜·加拉斯故事设定在“猿流感”病毒蔓延全球的背景下，人类几近毁灭，而进化为高级智慧生物的猿类一跃成为食物链顶端的王者。时移世异，暴虐的猿类首领赛撒（凯文·杜兰 Kevin Durand 饰）在一片废墟中建立起猿族历史上的第一个帝国——“猩球”崛起，这是世界新秩序诞生的黎明时分。神秘的人类女孩诺娃（弗蕾娅·艾伦 Freya Allan 饰）的出现，引起了赛撒的警觉。她似乎掌握着一个巨大的秘密，不仅关乎人类的存亡，甚至可能再度颠覆整个“猩球”。被迫逃亡的诺娃在躲避赛撒军队的过程中，与青年猿类诺亚（欧文·泰格 Owen Teague 饰）的命运交汇，揭开了一段冒险的旅程。
尼诺
西奥多·佩尔兰,威廉·勒布吉欧,莎乐美·德瓦斯,让娜·巴利巴尔,卡米莉·拉瑟福德,埃斯特尔·梅耶尔,维克图瓦尔·杜布瓦,马修·阿马立克,Pascale Oudot,Maël Besnard,Elodie Roy,Amaury Arboun,利森·丹尼尔,Charlotte Lainé,Balthazar Billaud,艾尔莎·布尚,Quentin Gouget,Alexandre Desrousseaux,Mounir Belhidaoui,Lola Felouzis距离人生重大考验只剩三天，尼诺却要先完成医生布置的两项关乎存亡的使命。这场穿越巴黎的救赎之旅，迫使他重新系紧与世界的羁绊，更要直面内心深渊。
防风少年电影版
水上恒司,木户大圣,纲启永,池龟树音,中泽元纪,上杉柊平,八木莉可子,山下幸辉,滨尾矩考,曾田陵介,萩原护,高桥里恩本片改编自同名人气不良少年漫画，以“偏差值最低、打架最强”的风铃高校为舞台，讲述为成为最强而来到这座城市的少年樱遥（水上恒司 饰），加入守护街道的义气不良组织“防风铃”，与伙伴们并肩作战、守护街道的热血故事。
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.