大鴻米店

? 1.2 播放:18萬 2026-07-13
主演: 黃健中/

  五龍(陶澤如飾)逃荒進城憑著一身蠻力做了大鴻米店的伙計,食量驚人的他惹來了米店馮老板和大女兒綺云(楊昆飾)的百般刁難,而自小便作了六爺姘婦的小女兒織云(石蘭飾)卻見他總是笑逐顏開,白天到處受人欺負的五龍只有晚上躺在米倉里大口大口的嚼生米時才能感覺到踏實。偶然一次機會,讓五龍發現織云和六爺的手下阿保在一起鬼混,為了報復阿保平日里對自己的欺辱,五龍偷偷向六爺告發,后來阿保就被人給捅了。初嘗報復帶來的快感讓五龍興奮的徹夜無眠,而生性風流的織云對他的百般勾引又令他完全迷失。從此,五龍便開始對身邊欺負自己的一個個城里人瘋狂的報復……                                      本片由著名作家蘇童的小說《米》改編,于1995年攝制完成后因被認為宣揚人性惡論而被稱為灰色電影,雪藏七年后才得以解禁海外影視

在線觀看

? 播放 大鴻米店

劇情提要

  五龍(陶澤如飾)逃荒進城憑著一身蠻力做了大鴻米店的伙計,食量驚人的他惹來了米店馮老板和大女兒綺云(楊昆飾)的百般刁難,而自小便作了六爺姘婦的小女兒織云(石蘭飾)卻見他總是笑逐顏開,白天到處受人欺負的五龍只有晚上躺在米倉里大口大口的嚼生米時才能感覺到踏實。偶然一次機會,讓五龍發現織云和六爺的手下阿保在一起鬼混,為了報復阿保平日里對自己的欺辱,五龍偷偷向六爺告發,后來阿保就被人給捅了。初嘗報復帶來的快感讓五龍興奮的徹夜無眠,而生性風流的織云對他的百般勾引又令他完全迷失。從此,五龍便開始對身邊欺負自己的一個個城里人瘋狂的報復……                                      本片由著名作家蘇童的小說《米》改編,于1995年攝制完成后因被認為宣揚人性惡論而被稱為灰色電影,雪藏七年后才得以解禁海外影視

同系列推薦

辦公室圣誕派對

杰森·貝特曼,奧立薇婭·瑪恩,T·J·米勒,詹妮弗·安妮斯頓,凱特·麥克金農,考特尼·萬斯,吉莉恩·貝爾,羅伯·考德瑞,瓦妮莎·貝爾,蘭道爾·樸,山姆·理查森,卡蘭·索尼,鄭智麟,阿比·麗,達明·喬伊·倫道夫

岳父岳母真難當2

克里斯蒂昂·克拉維埃,尚塔爾·羅比,阿里·阿比唐,梅迪·薩東,弗雷德里克·周,諾姆·迪亞瓦拉,弗雷德里克·貝爾,茱莉亞·皮亞彤,艾米麗·卡恩,艾洛蒂·豐唐,帕斯卡爾·恩佐濟,薩麗馬特·卡馬特,塔蒂亞娜·羅喬,克勞迪婭·塔格博,海迪·布奇納法,洛伊奇·勒讓德,吉勒·科昂,菲利普·貝利亞,貝特朗·科姆

家庭計劃2

馬克·沃爾伯格,米歇爾·莫納漢,基特·哈靈頓,佐伊·瑪格麗特·科萊蒂,托馬斯·福布斯·約翰遜,丹尼爾·德·博格,杰克·費爾布羅勒,凡·克羅斯比,塔拉·麥肯,勞雷爾·勒夫科,阿卜杜勒·巴西特,里達·埃拉祖阿爾,葉夫根尼奧斯·卡科利里斯,普林斯·馬爾弗,艾萊妮婭·艾莫特,杰西卡·惠心·湯,蒂薩基亞·迪亞斯,西奧·布格內,伊恩·錢斯,伊桑·赫茲·德普拉托

心碎俱樂部

Dede Satria,Denira Wiraguna,Emil Kusumo

大假一場

艾德·赫爾姆斯,西格妮·韋弗,約翰·C·賴利,阿莉雅·肖卡特,安妮·海切,斯蒂芬·魯特,羅伯·考德瑞,柯特伍德·史密斯,小伊塞亞·維特洛克

畫中仙

元彪,王祖賢,午馬,李美鳳,吳啟華,元華,薛芷倫,羅美薇,林威,葉璿

幕后花絮

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.

一個叫小小船的男孩

  在飽受干旱困擾的小鎮中,一個拉美裔家庭給他們唯一的兒子取名為“帆船”。帆船給他的家人帶來了新的愛和希望。一天下午他帶回了一把小吉他。從這一刻起,帆船和他的吉他形影不離。病重的祖母希望他為她寫一首歌,帆船迎難而上,創作了有史以來最偉大的歌曲。