獲得第24屆圣丹斯電影節(jié)劇情片類(lèi)評(píng)委會(huì)大獎(jiǎng)的《雷管》，講述的是四位合作者出于興趣發(fā)明了一臺(tái)查錯(cuò)儀器，卻意外地發(fā)現(xiàn)這臺(tái)儀器擁有強(qiáng)大的商業(yè)價(jià)值，最終四人相互爭(zhēng)斗的局面?！独坠堋肥菍?dǎo)演什恩-卡魯斯(ShaneCaruth)首次執(zhí)導(dǎo)的劇情長(zhǎng)片，該片由他自己投資，并身兼編劇、導(dǎo)演、主演數(shù)職，體現(xiàn)出獨(dú)立電影的“DIY”精神。另外，令人津津樂(lè)道的是該片不足7000美元的超低制作成本，只相當(dāng)于一輛富康車(chē)的價(jià)錢(qián)……

　　科學(xué)萬(wàn)能の現(xiàn)代、だが未だ地球上には解明できぬ謎が殘されている……。東北地方に、婆羅陀魏山神という神をまつる村があった。訪(fǎng)れた調(diào)査隊(duì)はそこで生ける神?バラダキを目撃する。それは湖に棲息する中生代の恐竜?バランであった。急遽出動(dòng)した自衛(wèi)隊(duì)の攻撃を逃れ、バランは空へと舞い上がる。やがて姿を現(xiàn)したバランは、浦賀水道から東京上陸を狙う。３６ミリ機(jī)関砲さえ跳ね返すバランに対し、自衛(wèi)隊(duì)はダイナマイトの２０倍もの威力を誇る特殊火薬をもって対抗するが……。ミニチュアワークは相変わらず冴えているが、“未知の謎”を主題にしているわりにはストーリーが平板。冒頭からバランの全身を出し、その破壊力の描寫(xiě)に終始している感がある。資料によっては「東洋の怪物」のサブタイトルも見(jiàn)受けられるが、フィルム?クレジット上には存在しない。

　　毎年夏と冬に怪獣映畫(huà)を公開(kāi)する東寶との直接対決を避けて春休みに公開(kāi)することになった“ガメラ“シリーズ。富士火山帯の活動(dòng)で出現(xiàn)したギャオスは、名古屋を火の海にするが、炎を好むガメラが現(xiàn)れ、陸?海?空を舞臺(tái)に死闘が展開(kāi)される。

　　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.

　　朝鮮戰(zhàn)爭(zhēng)后期的1953年7月,當(dāng)戰(zhàn)爭(zhēng)各方在進(jìn)行和平停戰(zhàn)談判時(shí),美軍為了在談判桌上增加籌碼,命令克萊門(mén)斯中尉率領(lǐng)美軍一個(gè)連進(jìn)攻沒(méi)有軍事價(jià)值的255高地.他們知道板門(mén)店停戰(zhàn)談判可能隨時(shí)會(huì)達(dá)成和平協(xié)議,所以一些士兵不太愿意做無(wú)謂犧牲.然而,克萊門(mén)斯中尉認(rèn)為這是他們的愛(ài)國(guó)職責(zé),在他的指揮下,美軍在豬排山陣地上與中朝軍隊(duì)進(jìn)行爭(zhēng)奪戰(zhàn),甚至進(jìn)行殘酷的肉搏戰(zhàn).等到增援部隊(duì)到達(dá)時(shí),135人的連隊(duì)打的就剩下25個(gè)人.

　　本片講述了一位名叫阿妙的女子人生。偷渡失敗后，阿妙只好與唯一的親人奶奶一起生活。成長(zhǎng)于市集和車(chē)站間，對(duì)過(guò)去的敏感，充滿(mǎn)波折的生活環(huán)境，曾經(jīng)愛(ài)過(guò)的小混混興馬（H?ng M?）背叛，令她干起了違背良心的事。阿妙燒掉市集，坐牢后再犯殺人。與松英雄（Tùng Hero）的相遇是阿妙江湖生涯中巨大轉(zhuǎn)折。阿妙的名字不再存在，取而代之的是綽號(hào)“香站”（暗指在車(chē)站市集賣(mài)香的女子）....改編自作家阮廷秀的小說(shuō)，取材于原型人物容霞（ Dung Hà）的真實(shí)故事。

Frankie （向西） 從小在家教嚴(yán)厲的家庭中長(zhǎng)大，生活都十分刻板乏味，向西青春期的‘性啟蒙老師’就是王靜--向西中學(xué)時(shí)期的唯一朋友。向西在中學(xué)時(shí)期及在英國(guó)留學(xué)期間，在性方面處處撞壁，在英國(guó)留學(xué)期間，向西除了結(jié)交了好色學(xué)長(zhǎng)James外，可以說(shuō)一無(wú)得著。向西其后接受王靜與James的邀請(qǐng)一同北上尋歡，初到歡場(chǎng)的向西對(duì)于這個(gè)世界一無(wú)所知，這里的一事一物都充滿(mǎn)著新鮮與刺激，而當(dāng)他遇見(jiàn)小思之后，他更是為之著迷。因?yàn)樾∷甲屗w會(huì)到人生之中前所未有過(guò)的歡悅性愛(ài)，對(duì)向西來(lái)說(shuō)，這絕對(duì)可以說(shuō)是一次肉體上的‘Perfect Sex’。向西終于知道為什么男人會(huì)愛(ài)上尋歡，因?yàn)檫@是女朋友絕對(duì)滿(mǎn)足不到的。向西明白自己對(duì)小思之情是建基于情欲上，而對(duì)Zeta則是建基于心靈上，然而雖然他心理上愛(ài)著Zeta，但生理上卻渴望著小思。