怒战狂心

　　Based on the H. P. Lovecraft story of the same name, a folklorist investigates reports of unusual creatures in Vermont only to uncover more than he bargained for

　　在上一次试图击败海王（杰森·莫玛 Jason Momoa 饰）未果后，黑蝠鲼（叶海亚·阿卜杜勒-迈丁 Yahya Abdul-Mateen II 饰）依然不甘放弃为父报仇，誓要消灭海王。这一次，他找到了传说中的黑暗三叉戟，释放出古老的邪恶力量，比以往更来势汹汹。为了与之抗衡，海王向被囚禁狱中的弟弟奥姆（也是前亚特兰蒂斯国王，帕特里克·威尔森 Patrick Wilson 饰）求助，组成了出乎意料的联盟。他俩必须抛弃前仇旧怨，携手并肩作战，才能从即将到来的灾难中保卫王国，拯救家人，拯救世界。

　　一队盗贼使用一种药物，使他们能够与未来的自己交换意识，以窃取明天的秘密。

　　故事讲述一位前科犯人（杰克·莱诺 饰），被迫要跟被收养的兄弟一起逃亡，全然因为他们被一位报复心极强的罪犯（詹姆斯·弗兰科 饰）追捕。而兄弟俩保护自己的方式，就是找到神秘武器。

　　自命不凡的大学教授乔纳森·马福特（David Bunce 饰）带领一群学生去考察，他们乘坐的小型飞机由于流星影响在一片林区迫降，就在学生们以为考察将被迫终止时，教授发现了一种奇怪的踪迹，命令学生们在丛林中搜索前进，最后发现了一个废弃的农庄，全体在这里扎营过夜。
　　了解了他们的来意之后，农庄的主人（Ben Kahn 饰）给他们看了一个蜘蛛形状的巨型生物的尸体，并告诉他们，从他小时候起，这个怪物就一直在他家的仓库里。教授听到这个消息认为是荒诞无稽之谈。但由于受流星撞击影响早已长眠的怪物爬出山洞，向人们发出死亡的威胁…… （by：水晶 原简介不对的地方很多）

　　A woman finds herself locked in a stark room and given challenges.

　　为了能让身患老年痴呆症的父亲重回正常的生活，威尔·罗曼（詹姆斯·弗兰科 James Franco 饰）一直致力于名为“Cure”的基因药物的开发，并在大猩猩身上不断进行着药物试验。在公司已经失去信心的同时，威尔继续在家完成试验，并在一只名为凯撒的大猩猩身上获得成功。借助灵长类学家卡洛琳（芙蕾达·平托 Freida Pinto 饰）的帮助，威尔发现凯撒的智力极大地提高。不过，人类的社会始终无法接受拥有极高智力的凯撒，凯撒被送往了猩猩看护所。看护所的残酷对待，使得凯撒利用智慧进行抗争，最终救走了同时被囚禁的其他猩猩，而且对它们都使用了Cure。一群高智商的猩猩与人类对立的战争就此拉开。本片获得了第84届奥斯卡最佳视觉效果的提名。

　　第二部仍以女孩卡迪（维奥莱特·麦格劳 Violet McGraw 饰）和她的姨妈珍玛（艾莉森·威廉姆斯 Allison Williams 饰）为主线，她们遭到了下一代机器人“阿米莉亚”（伊万娜·萨赫诺 Ivanna Sakhno 饰）的疯狂攻击，而本已沦为智能语音助手的梅根（珍娜·戴维斯 Jenna Davis 配音），似乎是帮助她们对抗阿米莉亚的绝佳选择。

　　Without warning, millions of mysterious alien "doors" suddenly appear around the globe. In a rush to determine the reason for their arrival, mankind must work together to understand the purpose of these cosmic anomalies. Bizarre incidences occurring around the sentient doors leads humanity to question their own existence and an altered reality as they attempt to enter 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.