聊斋艳谭之玉女聊斋
故事发生在宋朝末年，王员外富丽堂皇的府上正在进行一场荒淫无度的宴会，宴会的主角是一位名叫朱尔旦（林伟健 饰）的男子，王员外派出了自己性感美艳的小老婆如意（钟甄 饰）对朱尔旦百般挑逗。朱尔旦虽然极力抗拒却还是欲罢不能，又因为自身的缺陷而遭到了躲在暗处的王员外的无情嘲笑。不仅如此，王员外还让朱尔旦前往山神庙，将庙内的神像偷来，向来懦弱胆小的朱尔旦只能应允。 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 在运送神像的过程中，朱尔旦一不小心跌碎了神像手中的生死簿，引得附在神像上的神灵陆判（徐锦江 饰）现身，陆判不仅修复了朱尔旦生理上的缺陷，还答应帮助他向一直压迫他的王员外复仇。
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剧情提要
故事发生在宋朝末年，王员外富丽堂皇的府上正在进行一场荒淫无度的宴会，宴会的主角是一位名叫朱尔旦（林伟健 饰）的男子，王员外派出了自己性感美艳的小老婆如意（钟甄 饰）对朱尔旦百般挑逗。朱尔旦虽然极力抗拒却还是欲罢不能，又因为自身的缺陷而遭到了躲在暗处的王员外的无情嘲笑。不仅如此，王员外还让朱尔旦前往山神庙，将庙内的神像偷来，向来懦弱胆小的朱尔旦只能应允。 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 在运送神像的过程中，朱尔旦一不小心跌碎了神像手中的生死簿，引得附在神像上的神灵陆判（徐锦江 饰）现身，陆判不仅修复了朱尔旦生理上的缺陷，还答应帮助他向一直压迫他的王员外复仇。
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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.
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