为年轻儿媳按摩的公公
优子因长时间站立工作而饱受背痛的折磨，在丈夫的推荐下，她接受了公公的按摩。优子的身体因这奇特的触感而放松下来，而公公也让她尝到了性爱的滋艾旦影视,海外影院,海外影视,海外YY,海外抢先电影,海外手机影院,海外影院APP,海外中文影视,海外影视网,海外华人影院,海外影院tv,蛋蛋电影网,海外福利影院,haiwaiyingyuan
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拍得不错
方中信,周柏豪 ,张兆辉,蔡卓妍,卢海鹏,林雪,李灿森,应采儿,苗侨伟,宣萱由五個單元故事組成的GOOD TAKE，是香港電影新一代導演的創新作品，包括導演曾國祥《水泥》，講述警員9413（周柏豪）前往報案地點查案，最後只留下電話鈴聲卻不見其人，令人毛骨悚然；導演黃智亨的《囍宴》，一個小孩跟著跟爸爸（張兆輝飾）一起前赴媽媽新婚囍宴的故事，童真與成年人的無奈都盡在心頭；導演黃進的《Good Take》，透過甘草演員泰勒(盧海鵬飾)的生活是向資深電影從業員致敬的故事；導演楊龍澄的《不一定》，以型格對比色彩重構暴力血腥鏡頭；導演黃精甫的《嚇鬼》，Charlene（蔡卓妍飾）挑戰鬼屋一夜遊，遇上中國殭屍、長髮貞子和辮子姑娘，過程又驚又笑！五個故事各自有著不同風格及不同戲味！
黑煞女2
丘普朗·阿瑞昆,杰克林·坤万齐提柴★ 強勢登頂泰國首周票房冠軍，終結【阿凡達：火與燼】四連霸紀錄！ ★ 挑戰感官極限的超尺度降頭獵殺，刷新「虐胃觀影」恐怖天花板！ ★ 徒手撕下顎、精蟲灌腦髓、滾鉛水灌喉，直擊咒術酷刑血腥實錄！ ★ 最生猛的南洋降頭禁術，殘虐指數破表，恐懼無處可逃！ 劇情簡介 血腥降頭獵殺，一個都別想跑… 出生自帶詛咒的潘娜（丘普朗阿瑞昆 飾）順利考取大學，原以為能埋葬過去、重啟新生。怎知她和好友小敏（萍瑪達柴莎索恩 飾）竟在新生活動後，慘遭六名學長姐殘酷霸凌。在導師制止後，對方反而變本加厲，私下求助降頭師施以致命巫術，卻意外喚醒潛藏在潘娜體內的「三眼神」邪力。獵人與獵物身份瞬間反轉。覺醒後的潘娜，信手捻來皆是索命降術，以牙還牙展開血色清算。一場終極獵殺就此引爆，誰也別想活著離開這場血色祭典！
喂，应为
长泽雅美,永濑正敏,高桥海人,大谷亮平,筱井英介,奥野瑛太,寺岛忍葛饰应为生活在艺术几乎完全由男性主导的江户时代，尽管她是北斋之女，但仍作为屈指可数的女性画师活跃于画坛。她拥有连北斋都称赞“在美人画方面胜我一筹”的绘画天赋，同时性格火爆、刚强、烟不离手，是个豪爽洒脱的女性形象。 《喂，应为》的主人公阿荣是北斋的女儿、得力助手，展现了惊人的绘画天赋。她从父亲那里获得了“葛饰应为”这一画号，这个名字源于北斋常常喊她“喂，饭来！”“喂，笔来！”等日常呼唤，“应”代表回应，“为”则有作为、成就之意，是从师父传给弟子的名号，也是父亲传给女儿的象征。尽管她不会泡茶，也不擅长针线活，却以继承自父亲的绘画才华与胆识，在男性社会中闯出一条路。
抢钱大作战
吉奥瓦尼·瑞比西,范·迪塞尔,尼娅·朗,尼基·凯特,本·阿弗莱克,汤姆·艾弗瑞特·斯科特19岁的少年赛斯·戴维斯（吉奥瓦尼·瑞比西 Giovanni Ribisi饰）一心希望能尽快淘到自己的第一桶金，好让父亲另眼相看。他本打算靠玩非法纸牌起家，却发现此路根本行不通，直到一家名为J.T.马林经纪公司的股票经纪商找上了赛维斯。 在这个号称“锅炉房”的核心办公室里，多少个一夜间成为百万富翁的故事深深诱惑着赛维斯。很快，野心勃勃的赛维斯便以优异的成绩通过了股票经济人认证考试，开始了他的“成功之路”。他把那些永远都没有前途的股票卖给利欲熏心的投资者。赛维斯正以极危险的速度追逐着金钱与利益，靠近着他所谓的功成名就，贪婪而不安。在纽约长岛这个瞬息万变的商业圈里，良心未泯的赛维斯终于开始面对良心的考验。
等待方舟
耶日·斯图尔,克里斯提娜·杨达,卡里娜·谢鲁斯克,马里乌什·德莫霍夫斯基,马雷克·瓦尔切夫斯基,扬·诺维茨基,亨里克·比斯塔,莱昂·涅姆奇克,克兹佐夫·马扎克,斯坦尼斯瓦夫·伊加尔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.
炸掉银行经理
路易斯·托萨尔,戈雅·托莱多,哈维尔·古铁雷斯,埃尔薇拉·明戈斯,费尔南多·卡约,里卡多·德巴雷罗卡洛斯在一家银行支行当总经理，最近他正和妻子玛尔塔闹别扭。风和日丽的一天，他送两个孩子马科斯和莎拉上学，却发生了改变他人生命运的事。崭新的汽车上莫名其妙地出现一部手机，一个陌生男人打来电话，号称卡洛斯的车里被安置了一颗炸弹。而恰在此时，一个神秘的黑衣摩的男尾随而至。这是一个恶作剧，还是真实的绑架勒索？事情的缘起何故，卡洛斯一家命运又该如何？这部西班牙电影将为你呈现一百分钟的惊心动魄……