15歲的夏天

黑羊

　　Al（提姆·麥錫森 Tim Matheson 飾）是個十分被看好的州長候選人，很怕因為他的笨蛋老弟Mike（克里斯·法雷 Chris Farley 飾）蒙羞，于是雇了Steve（大衛·斯佩德 David Spade 飾）來看管Mike以免他出什么亂子，從這一刻起就狀況百出、 笑料不斷。　　全片就像是一個喜劇大雜燴，讓您捧腹大笑，跌破眼鏡。

三個神探與喀爾巴阡之犬

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刀光虎影

 抗日戰爭時期，山東省清河縣的日寇、偽軍在威震齊魯的游擊隊女隊長肖斌和綠林英雄陸老虎的沉重打擊下，惶惶不可終日。為此，漢奸金百萬在電話里受到日寇山田司令的怒斥。緊接著，省政府馮專員又打來電話，說他女兒馮秋萍去天津，途經清河縣，請金百萬予以關照。馮秋萍在一隊人馬的護衛下，來到清河縣，受到了偽縣長、金百萬之子金永福的熱情接待。夜晚，陸老虎闖入金宅，向馮秋萍鳴槍警告。次日，馮秋萍帶著侍從鳳英，來到德興布莊和總經理葉昌龍接頭。原來這位馮小姐就是游擊隊長肖斌。肖斌截獲了馮秋萍，上級派她喬裝馮秋萍，打入敵穴，到德興布莊找化名葉昌龍的地下黨負責人李德山聯系，設法營救獄中的三位領導。狡猾的金永福為鏟除強敵，誘使陸老虎上鉤，邀請馮小姐鼎力相助。肖斌為救陸老虎脫險，打傷了特務隊長沈忠順，暴露了自己。金永福斥責沈忠順沒有抓住陸老虎，而對馮小姐將沈打傷，則認為是沈為自己開脫責任，未加理睬。為防意外，金永福讓沈忠順把共產黨人分散關押。肖斌為摸清情況，私闖禁區大廟。當晚，在辭行的宴會上，金永福得知關押在大廟內的兩位共產黨負責人被救走，他想到馮小姐夜闖大廟和打傷沈忠順，便對馮小姐產生了懷疑。肖斌臨危不懼，智斗群敵，平安脫險。在金百萬準備回去審訊于書記的途中，肖斌將他俘獲，并想用金百萬換回于書記。審訊中，金百萬才知肖斌就是小芳。當游擊隊與敵人交涉互換人質時，陸老虎為報金家殺害父母和妹妹小芳之仇，搶走金百萬。叛徒潘國華得知，帶領敵人從陸老虎處救走金百萬。為此，警覺的肖斌設計誘使叛徒暴露，除掉了潘國華。肖斌決定乘金百萬慶祝六十大壽之機，消滅警備隊，營救于書記。祝壽之日，金百萬叮囑金永福要嚴加防范，告訴兒子別忘記肖斌就是小芳，陸老虎就是大牛。藏在暗處的陸老虎聞此言，憤然殺死金家父子。這時，槍聲四起，肖斌率隊打進金府，經過激烈的戰斗，全殲了警備隊，救出了于書記。陸老虎終于找到了失散十幾年的妹妹小芳。兄妹相認后，哥哥陸老虎跟隨妹妹肖斌走上了革命的道路。

無盡日

　　一個桀驁不馴、目中無人的三流男藝人王子，在幾年的“自我經營”失敗后，讓公司徹底放棄，把他交給一個初出茅廬的臺灣小實習生貝拉接管。兩人首次見面就電光火石，吵得不可開交。　　貝拉帶著王子的助理吉米把王子“騙”去臺灣一個叫南灣的北斗鎮的偏僻山村，為當地大蔥節做揭幕表演，王子帶著滿肚子怨氣應付完了這一天，當晚就要返回北京。無奈保姆車路上拋錨，只得再借宿一晚。第二天一睜眼，王子就叫囂著死活都要走，卻發現整個鎮子上的人和事都跟他昨天經歷的一模一樣，王認為貝拉等人集體整蠱，但是越看越不像，這一天果然也沒有走成。　　第三天，在同一段熟悉的旋律中醒來，發現一切照舊。他拔腿就跑，用盡所有能用的交通工具打算逃離此地，在終于要看見機場的時候，朝陽升起。王子睜開眼鏡，發現自己依然躺在七星鎮破敗的旅店中。至此，他才不得不相信一個事實，他仿佛永遠都要循環這一天了。在無限循環中，王子度過了各種各樣的人生：戲弄人間，悲觀厭世，超脫世俗等。最終，在一個收破爛老頭的“循環死亡”中，他領悟了生命的真相。從此，他歸于平凡，最終成功地走出了這一天。

怪談新耳袋 魔界篇 前篇

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.