完全飼育：專屬女仆
秋葉原，宅男云集的電玩勝地。擔(dān)任漫畫咖啡廳店長的椛島（柳浩太郎 飾）是一個(gè)羞澀內(nèi)向的男孩，他迷上了在女仆咖啡廳工作的小莓（亞矢乃 飾），然而對方卻完全不知道他的存在。小莓生日當(dāng)天，椛島特意在店外等待。他原本想送上自己精心制作的生日禮物，卻被小莓誤認(rèn)作壞人，雙方發(fā)生撕扯。當(dāng)小莓從昏迷中蘇醒時(shí)，發(fā)現(xiàn)自己被綁在一間陰暗的屋子內(nèi)。椛島并不想傷害小莓，他只希望和心儀的女孩在密閉的空間內(nèi)，長久生活在一起 本片根據(jù)著名演員松田優(yōu)作的遺孀松田智子的原著《女子高校生誘拐飼育事件》改編，系;完全飼育系列 的第7部作品，由深作欣二之子深作健太執(zhí)導(dǎo)。
在線播放
劇情簡介
秋葉原，宅男云集的電玩勝地。擔(dān)任漫畫咖啡廳店長的椛島（柳浩太郎 飾）是一個(gè)羞澀內(nèi)向的男孩，他迷上了在女仆咖啡廳工作的小莓（亞矢乃 飾），然而對方卻完全不知道他的存在。小莓生日當(dāng)天，椛島特意在店外等待。他原本想送上自己精心制作的生日禮物，卻被小莓誤認(rèn)作壞人，雙方發(fā)生撕扯。當(dāng)小莓從昏迷中蘇醒時(shí)，發(fā)現(xiàn)自己被綁在一間陰暗的屋子內(nèi)。椛島并不想傷害小莓，他只希望和心儀的女孩在密閉的空間內(nèi)，長久生活在一起 本片根據(jù)著名演員松田優(yōu)作的遺孀松田智子的原著《女子高校生誘拐飼育事件》改編，系;完全飼育系列 的第7部作品，由深作欣二之子深作健太執(zhí)導(dǎo)。
導(dǎo)演精選
X--未知的元素
British Army radiation drills at a remote Scottish base attract a subterranean, radioactive entity of unknown nature that vanishes, leaving two severely radiation-burned soldiers... and a "bottomless" crack in the earth. Others who meet the thing in the night suffer likewise, and with increasing severity; it seems to be able to "absorb" radiation from any source, growing bigger and bigger. What is it?? How do you destroy a thing that "feeds" on energy?
公寓管理員
Saban Films拿下方·基默、帕特里克·約翰·弗魯格(《芝加哥警署》)主演影片[公寓管理員](The Super，暫譯)北美發(fā)行權(quán)。導(dǎo)演施特凡·里克([月之陰面])，編劇約翰·J·麥克勞克林([黑天鵝])，故事圍繞一位公寓管理員調(diào)查紐約一棟豪華公寓住客失蹤案展開。迪克·沃爾夫(《法律與秩序》)擔(dān)任制片。
等待方舟
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.