花与蛇1974精修版

　　港岛东区警署刑事侦缉组由Madam雷（刘嘉玲饰）率领，全组皆是女警，所以有“靓女差馆”之称。另一警局的警员生啤（陈奕迅饰）和沙爹（林晓峰饰）在一次行动中，得由Madam雷率领的众靓女CID帮忙而保存性命，对众美女一见难忘，两遂主动申请调职，走后门调到靓女差馆，以接近众女警并展开追求。　　生、沙二人身处美女群中，本应十分过瘾，可惜就在他俩加入之时，爆破专家火牛以炸弹恐吓靓女差馆，生、沙二人险丧命，警署上下全体陷入炸弹夺命危机，众靓女CID全力追缉炸弹狂徒……最后靓女CID得到前军火专家博士（王晶饰）的帮助，得以化险为夷，生、沙也在危难中始知自己最爱是谁，决顶改变追女习惯，并成功解救富豪被掳案件......

曾是韩国最快短跑选手的姜九荣（河锡辰 饰），因伤病、离婚、负面传闻陷入生涯低谷，面临退役危机，只剩最后一次机会挽回挚爱、重拾荣光；同时，热血高中生姜胜烈（李信永 饰）为追求心仪的女孩智恩，踏上短跑之路全力冲刺。两代跑者的人生在赛道上交集，在速度与热爱中完成自我救赎，致敬韩国田径的尘封纪录。

本片改编自同名漫画，讲述了以当红年轻演员的身分开始迈向明星之路的柊木昴（八木勇征 饰），以及他青梅竹马的女高中生天野千明（福本莉子 饰），有着“明星和素人”这种令人着急的关系的超王道爱情故事。

　　A doctor works to cure patients suffering from crippling phobias by placing them inside his invention which induces and controls hallucinations. 

 Set against the backdrop of a working farm in rural Northern Ireland, 'An Irish Goodbye' is a black comedy following the reunion of estranged brothers Turlough (Seamus O’Hara) and Lorcan (James Martin) following the untimely death of their mother (Michelle Fairley).Under the watchful eye of odd-ball parish priest Father O’Shea (Paddy Jenkins), the brothers’ pained reunion is worsened by the fact Turlough must now make new care arrangements for Lorcan, who has Down Syndrome. But when the brothers discover an unfulfilled bucket list belonging to their late mother, Lorcan senses an opportunity: he’ll only agree to leave the farm once he and Turlough have themselves completed every single wish on their mother’s list…all one-hundred of them.

　　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.