魔鬼蜘蛛男

　　本片改编自震惊印度的“德里黑公交案”。艾莉亚（萨佳·阿里 饰）在一次派对活动后遭到强暴，面对凿凿证据，四名罪犯却被法庭判为无罪。艾莉亚的继母，戴维琪（希里黛玉 饰）伤心欲绝，在走投无路后愤然决定亲手为女儿寻求正义。一场高能高智商的复仇大戏拉开序幕。正义到不了的地方，还有母亲！

　　A sparkling four-way affair overflowing with dialogue that showcases writer-director Sacha Guitry’s wit, Quadrille stars Guitry as a magazine editor whose longtime girlfriend (whom he hopes to make his fiancée) is uncontrollably drawn to a handsome American movie star. Meanwhile, a discerning reporter (Jacqueline Delubac) watches from the sidelines with amusement and provides the final corner of this romantic rectangle.

　　电影《豆满江》描述了从朝鲜偷渡图们江来到中国边境小村庄（吉林省图们市江沿乡新田村）的少年脱北者的故事。豆满江，在中国被称为图们江，位于中朝边界。影片主人公是12岁的少年昌浩，他有个哑巴姐姐顺熙、年迈的爷爷以及远在韩国挣钱的母亲，父亲则在当年为救落水的姐姐而在豆满江里丧生。昌浩与一位过河而来的热爱足球的朝鲜少年郑真成了朋友。

　　1965年，在一个叫新彭赞斯的小岛上，有一队童子军驻扎在艾凡赫营地里。童子军教官华德（爱德华·诺顿 Edward Norton 饰）在一个早上发现学童山姆（杰瑞德·吉尔曼 Jared Gilman 饰）留信出走，于是华德和一众童子军开始寻找山姆，小岛警察夏普（布鲁斯·威利斯 Bruce Willis 饰）也展开了环岛搜寻。原来山姆的出逃是计划已久的，他和“问题”女孩苏西（卡拉·海沃德 Kara Hayward 饰）一起出走，而苏西是岛上一对律师夫妻的女儿，父母视苏西为问题儿童。搜寻过程中，苏西的父亲（比尔·默瑞 Bill Murray 饰）似乎察觉到自己的妻子和警察有染。
　　这支由一队童子军、童子军教官、警察、律师父母组成的搜查小队，终于找到了出逃的二人。由于山姆是孤儿，这次事件之后他必须被送去未成年人收容所。当晚，童子军队伍决定帮山姆和苏西二人再次出逃。一场大风暴将要从东部向小岛袭来，一行人将会遇到什么……

　　都会のアパートで一緒に暮らしている二人の女性、美津と夏子。ひそかに美津を愛し始めた夏子は、美津を自分だけのものにしようと、彼女の恋人に近づき、子供を宿してしまう。美津は夏子のもとを去っていくが、夏子は彼女のあとを追い続ける……。微妙な心理ドラマを力強い演出で見せる佳作。

　　Chaos ensues when a father and son travel to a farm festival via the Wine Trail in a Parisian taxi.

　　现年34岁的火野铁（德井义实 饰）是建筑工地一名普通劳动者，这样一个看似唯唯诺诺、甚至在家也全然不被儿子放在眼里的大叔，年轻时代竟是曾经叱咤风云的暴走族。回想当年，17岁的火野与横田厚志（阿部隆史 饰）等好哥们在暴走族“神叉”中过着飙车打架的快乐生活，但前代总长渡边满（中村达也 饰）弟弟的意外死亡，却导致了一场让他们刻骨铭心的悲剧。平静的生活骤起波澜，火野之子周平（林遣都 饰）的女友——也就是横田的女儿真琴遭到数名流氓凌辱，迫使这群平凡老男孩奋起复仇。未过多久，当年悲剧的参与者五十岚健（村上淳 饰）、绪方（新井浩文 饰）与火野等人重新邂逅。他们以各自的行动诠释着“莫逆”与“家人”的涵义……
　　本片根据日本漫画家田中宏的同名原作改编。

　　故事讲述一场大雪将一名女人及两个继子(女)困在偏远度假村，而在此期间三人关系恶化，可怕的是女子童年黑暗的心理恶魔再次出现。

　　15世纪初，俄罗斯动荡时期。著名圣像画家安德烈·卢布廖夫（安纳托里·索洛尼岑 Anatoli Solonitsyn饰）在大公的邀请下前往莫斯科为教堂作画，受到了贵族式的服务与对待。然而，卢布廖夫却身处在一个饱受鞑靼人铁蹄践踏和充满灾难残杀的悲惨时代。目睹了黎民百姓在大公暴政下的水深火热，卢布廖夫毅然离开教堂返回修道院。不久，卢布廖夫被迫再度回到莫斯科进行圣像创作。然而面对居民被无辜的残杀，教堂在战火中被无情的摧毁，卢布廖夫再次陷入艺术与现实巨大反差的质疑之中，拒绝继续作画。1423年，鞑靼人的军队终于被赶出俄罗斯的大地。在经历了炮火、鲜血的锤炼洗礼后的卢布廖夫，终于完成了传世名作《三位一体》的创作。
　　由苏联电影大师安德烈·塔科夫斯基执导的旷世史诗巨作《安德烈·卢布廖夫》，用塔式特有的诗化电影语言和如历史壁画一般的浓重画笔，呈现了15世纪俄罗斯著名圣像画家安德烈·卢布廖夫漂泊与抉择的一生。本片荣获1969年第22届戛纳电影节费比西奖。

　　影片讲述了一个前选美皇后在丈夫受伤无法工作、家庭陷入困境后，选择了到一个按摩院工作，但她的客户对她的期望并不仅仅是一次按摩……

Korean Mother in

　　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&♯39;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&♯39;re getting there. See it if you can find it.