Toland

Setinanundergrounddungeoninhabitedbybundled,raggedhumanbeings,afterthenuclearholocaust.Thestoryfollowsthewanderingsofaherothroughthesituationsofsurvival.PeoplewaitfortheArktoarriveandrescuethemwhiletheirhabitatfallsapart.Delvingdeepintothedustyandlongabandondedvaultsofb-cinemainsearchoflostgemsalwaysleavesmewithabittersweettaste.Ononehandthediscoveryofunexpectedgemswherenoonewouldthinkthempossibleisarewardingexperience.Ontheotherhandthoughitmakesonewonderhowmanyoftheseremarkablelow-budgetoddities,personalloveaffairsofdirectorsneverquitefamousandnowallbutforgotten,havealmostforeverslippedfrommemory?nanycasewhatwehavehereisalittlepost-apocalypticgemfromPolandthatisreallybetterthanithasanyrightto.ThedystopiannearfutureofO-BI,O-BAfindsagroupofsurvivorsofthenuclearwarthatravagedtheEarthinhabitinganunderworldconcretebunkerandbidingtheirtimeastheywaitforthemysteriousArk,anairshipofsomekindthatwillcomeandsavethem.TheArkprovestobeanelaboratehoax,carefullydesignedtogivehopetothemalnourishedanddesperatedenizensofthebunker,whileinthemeantimethedomethatseparatestheirmiserableexistencefromthenuclearwinteroutsideisslowlycavingin.Whatfirststrikedmeaboutthemovieisthedesignofthebunkerandthedepictionofthesurvivors.Thesurvivorsaregaunt,filthyandterrible-lookingpenitents,dressedinragsandaimlesslywanderingtheneon-lithallsofthebunkerlikeautomatons.Thebunkerisarundown,seedyplace,withbrightneonlightspeeringfromallsidesliketheeyesofmalignantbeasts.Ononehanditisaslightly80’sdepictionofthedystopianfuturebutthemovieneverstoopsdowntoMADMAXcheese.Insteaditcombinesbitingpoliticalsatirewiththebleakoutlookofaworldwithnofuture,blackcomedywithbarbsonapathy,religionandpower.Thesurvivors,forexample,arefedsomekindofflourdroppingfromatubethathoversintheair-lateronwediscoverthefoodsupervisorusesbooksandtheBibleitselfasfillerforthismeagremeal.Therearemanysuchshortsymbolictouches,perhapsnotlife-changingorfaith-restoring,yetplayful,cleverandinspired.Onethingisforsure;O-BI,O-BAisnotyourrun-of-the-millsci-fischlock.Itovercomesitsmodestbudgetwithcreativityandhasgenuineartisticaspirationsbothfromawritinganddirectingperspective.Myopinionisthatitshouldhavebeenfilmedinblackandwhiteinsteadofcolourthough.Thedirectorusesatmosphericlightandshadowtogreateffectanditwouldhaveregisteredevenbetterinstarkblackandwhite.Theblue-greenneonontheotherhandoutstaysitswelcomeafterawhile.Justaminorgripeinanotherwisesolidb-moviewithitsheartsetinalltherightplaces.ImaginealessbleakTHEROAD(CormacMcCarthy)beinginjectedwiththesatireandhumourofDR.STRANGELOVEandyou’regettingthere.Seeitifyoucanfindit.

Fourinsomniacmedschoolstudentsareluredintoaneuroscienceexperimentthatspiralsoutofcontrolandmustfindawayoutbeforeit’stoolate.

Julietteisinhersecondyearofhighschoolandshehastohandlethemockeriesofotherstudents.Complexedbyheroverweight,theyounggirlentersteenageyearsfulloftwistsandturns.

片子改编自实在的汗青变乱。　　故事产生在第二次天下大战停止之后,德国战胜,大量被捕的德国士兵成为了俘虏。战役时期,德军曾在丹麦西海岸埋下了超越一百五十万枚地雷,而此中一些被俘虏的年青德国士兵,则自愿成为了活体地雷探测器。　　在丹麦军官卡尔（罗兰德·莫尔 Roland Møller 饰）的率领下,那些尚且只是孩子的俘虏们开端了排雷行为,他们用双手,用双脚,乃至用性命,一步一步的污染着长长的海岸线。但是,当义务停止之后,当幸存的孩子们满心欢乐的认为他们终于逃走了逝世神的手掌能够回抵家乡之时,期待着他们的,倒是另一项同样残暴的义务。

AnactioncrimecomedysetinthelastdaysofcommunisminPoland,astoryoffolk-herothief,whoescaped29timesfromcops.Naymrowaslivingonhisowntermsagainstthesystem.ButloveandcollapsingBerlinWallchangedeverything.

Findoutaboutthespine-chilling,horriblecrimesofthesadistickillerRajaKolander.Markyourcalendarsbecause,IndianPredator:TheDiaryofaSerialKillerisreleasingon7thSeptember,onlyonNetflix.

Ayoungwomanwhoexperiencespainfulandgruesomesideeffectsafteranexperimentwithtimetravelgoeswrong.Shelosescontrolandshiftsthroughtimeatrandom.

单身父亲丹尼尔·雷（布赖恩·波兰德 Brian Boland 饰）与美丽的克里斯蒂（Sprague Grayden 饰）结为夫妇，并育有可爱的孩子亨特（William Juan Prieto 饰），连同丹尼尔的女儿艾丽（Molly Ephraim 饰），一家四口过着幸福快乐的生活。2006年的某一天，他们的房子被人闯入，东西翻得乱七八糟，却几乎没有丢失任何东西。此后不久，丹尼尔请人在房子的不同角落安装了摄像头。夜深人静，万籁俱寂，摄像头却记录下一幕幕令人难以置信的画面。　　雷家的奇怪事件层出不穷，且愈演愈烈，连一向不迷信的丹尼尔也变得深为惶恐。最令他们担忧的是，一切似乎全部指向了那个刚刚1岁多的孩子——亨特。夜晚变得可怕而漫长……

50年代-60年代初波兰电影学院派的经典作品之一，堪称与同时代意大利导演安东尼奥尼的《奇遇》相比，改编自Józef Hen在社会主义波兰时期被禁的小说。　　In 1960 his second film NIKT NIE WOLA NOBODY'S CALLING, based on a Jozef Hen novel that was never published in Poland, described the fate of Poles on the Eastern Front. Kutz used the film to explore new formal solutions, collaborating closely with cinematographer Jerzy Wojcik to reveal the psychological landscape of a pair of lovers who are strongly affected by wartime events. The camera recorded the couple's inner experiences, contrasting their muted intimacy against the surrounding scenery of a ruined town. The film did not win over critics at the time of its release. It was not until later that critics recognized Kutz's effort to experiment with aesthetics in a manner akin to that pursued by filmmakers of the new wave. NOBODY'S CALLING came to be compared with Michelangelo Antonioni's THE ADVENTURE, which was produced around the same time.

WhenIvydiscoverstheschoolbathroomishaunted,BeanhelpsIvytoharnessherwitchlikepowers.Withthehelpoftheirclassmates,IvyandBeanorchestratearitualthatwillfreetheghosts,savetheschoolandalsomessupNancy’sday.