懷中祈禱

火箭手

　　《火箭人》（The Rocketeer）是迪士尼１９９１年推出的電影，故事題材是由 Dave Stevens 同名的圖文小說改編而成?！　”酒前l(fā)生在１９３０年代的好萊塢，有一個(gè)軍方的秘密武器意外落在一位競技表演飛行員 Cliff Secord 手中，他對此一推進(jìn)器頗感驚奇， 最后他背上了這付怪東西、戴上面具，成了行俠仗義的『火箭人』，然而各方人馬都想奪得這項(xiàng)秘密武器，尤其有一位好萊塢影壇的知名男演員 Neville Sinclair ，他其實(shí)是納粹潛伏在好萊塢的情報(bào)份子，為了奪得火箭，他還挾持了 Cliff 的女友 Jenny Blake，火箭人 Cliff 于是展開他的救援行動(dòng)?！　”酒伞队H愛的我把孩子縮小了》、《野蠻游戲》、《侏羅紀(jì)公園３》以及《百勝天龍》影集的知名導(dǎo)演 Joe Johnston 所執(zhí)導(dǎo)，他同時(shí)也是《星際大戰(zhàn)》系列的特效大師。至于演員方面，男主角 Cliff 由 Bill Campbell 擔(dān)任，女主角則是 Jennifer Connelly，至于片中那位大反派間諜演員，則是由曾演過００７的 Timothy Dalton 擔(dān)任。　　本片配樂的是 James Horner ，原本原聲帶都已經(jīng)絕版多年，但在前幾年《鐵達(dá)尼號》造成發(fā)燒的時(shí)候， James Horner 的作品又造成熱潮，迪士尼旗下的好萊塢唱片于是再版發(fā)行了這張電影原聲帶，如今則又絕版了。

殺戮南瓜怪

　　萬圣節(jié)之夜，一位少女劇作家、她的弟弟和一群幸存者被困在一個(gè)可怕的村莊里：一群有著生命的南瓜開始攻擊人類，而這件事似乎在這個(gè)村莊的歷史上發(fā)生過。

半身死靈

　　在近代日本坊間流傳著這樣一個(gè)傳說，名叫島禮子的美麗少女被美國大兵輪奸，在此之后她精神失常，臥軌而死。島禮子一縷幽魂不散，化作只有上半身的恐怖惡靈。它極端憎惡紅色，每晚出沒在橫跨鐵路的天橋上，并在路過之人背后發(fā)出“嗒卡嗒卡”的聲音。一旦路人回頭，它便將對方攔腰斬?cái)唷＜词箖e幸逃過，在接下來的72小時(shí)內(nèi)也必然遭到“嗒卡嗒卡”的獵殺?！　「咧猩倥髽蚩赡危ù髰u優(yōu)子 飾）的好友綾花夜歸遭遇“嗒卡嗒卡”，遇害身亡?？四卧诩腊莺糜褧r(shí)，同樣見到這個(gè)恐怖惡靈，不過僥幸逃脫。然而死亡的陰影仍然籠罩在她的頭上，在女大學(xué)生平山理繪（山崎真實(shí) 飾）的幫助下，她們一同出發(fā)尋找求生的辦法……

害蟲

　　少女幸子（宮崎葵飾）和老師的師生戀緋聞被傳得風(fēng)風(fēng)雨雨，相依為命的母親稔子（Ryo飾）則自殺未遂。打擊不斷的生活令幸子無法承受，升入中學(xué)后，她不去上學(xué)，每天閑逛打發(fā)時(shí)間。她和依靠小偷小摸賺錢的少年隆夫、精神脆弱的中年人久蔵成為了朋友。隆夫離開后，幸子和好友夏子（蒼井優(yōu)飾）返回了學(xué)校。　　不久后，她又差點(diǎn)被母親的新歡德川強(qiáng)暴。謠言又起，幸子失望地離開學(xué)校。昔日的老師戀人現(xiàn)在發(fā)電所工作，幸子準(zhǔn)備去他那里。然而在約定的小茶店里等了很久，他還是沒有出現(xiàn)。灰心的幸子跟一個(gè)前來搭訕的男子離開茶店……

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.

母親2009