在线看
同款热播
百夜楼
范明,王珞嘉,魏晓璇,楼南光,九孔民国年间，马文才、张小猴师徒混迹南方做一些冒充高人的骗人勾当，意外卷入一场凶杀案，被误当做杀人凶手。为解除嫌疑二人不得不留在此地揪出真凶。接二连三的怪事儿似乎证实了之前不详的传闻，张小猴发现近日的种种遭遇竟和一个困扰自己多年的梦境有关。
反恐疑云
杰克·吉伦哈尔,瑞茜·威瑟斯彭,梅丽尔·斯特里普,艾伦·阿金,彼得·萨斯加德,奥玛尔·梅特瓦利,艾格尔·纳尔,哈达尔·拉特松·罗滕,J·K·西蒙斯,西蒙·阿布卡瑞安,莫阿·库阿斯,奇内布·乌凯什,阿拉米斯·奈特,Rosie Malek-Yonan,穆尼尔·马戈姆,鲍勃·冈顿,雷曼德·阿萨雷米,Wendy Phillips,Christian Martin,哈萨姆·甘西,纳吉布·尼西里,芭妮·里维拉,安妮·贝坦克特,理查德·多顿,Floella Benjamin,Michael Dube,斯蒂夫·汤姆,罗伯埃及裔美国人安瓦•艾尔•伊布拉西米（奥玛尔•梅特瓦利 饰）大约二十年前，从埃及移民到了美国，与漂亮的美国姑娘伊莎贝拉•菲尔兹（莉丝•维瑟斯彭 饰）成了家，夫妻恩爱生活美满，育有一子，伊莎贝拉肚子里的第二胎也日渐成型。 某日，安瓦•艾尔•伊布拉西米从南非出差回来，在华盛顿机场被神秘的黑衣人带走，原因是中央情报局认为身为化学品工程师的安瓦•艾尔•伊布拉西米是恐怖分子，想从他口中撬出有用的情报。倒霉的安瓦被“引渡”至埃及的开罗，交由驻扎在当地的中情局探员道格拉斯•弗里曼（杰克•吉伦哈尔 饰）和老奸巨猾的当地探员审讯。 另一方面，身怀六甲的伊莎贝拉，坚信丈夫是无辜的，四下奔走，努力寻找丈夫的下落。期间，她虽然幸运地获得旧情人（彼得•萨斯加德 饰）的帮助，但终究不足以国家强势机构对抗，一筹莫展。 与此同时，刚刚入行不久的特工道格拉斯•弗里曼，在目睹了CIA同事们对安瓦进行的非人道审讯时，也面临着良心的拷问。 安瓦是不是恐怖分子？伊莎贝拉能否和丈夫团圆？中情局新手道格拉斯•弗里曼，究竟在这场暗战中发挥了怎样的作用？对这一切疑问的解答，必将引向对“引渡”政策的重新审视。
古剑奇谭之焚寂天劫
白澍,梁婧娴,姜震昊,黄羿,王景灏蓬莱大战三百年后，百里屠苏终被风晴雪复活，欧阳少恭也被巽芳救出。蚩尤控制少恭危害百姓，众人合力对抗却不敌。屠苏得到女娲指点，将剑魄给予少恭，合体击败蚩尤，以死换得天下太平。
火狐
克林特·伊斯特伍德,弗雷迪·琼斯,大卫·赫夫曼苏联在1982年开发了米格31喷气机时，全世界大为惊恐，唯一对策只有盗取这架超性能之飞机，而有能力担任此任务的就只有越战空中英雄甘德，甘德终于被说服由退休生涯中复出，接受一连串的特种训练后，前往俄国并与俄国特务数次交手，展开一场惊心动魄的激烈空战……
怒兽出笼
丹尼尔·麦克弗森,卢克·海姆斯沃斯,罗素·克劳,布伦·福斯特,莫让·阿里亚,马特·纳夫莱,凯莉·盖尔,内森·菲利普斯,Amy Shark,埃莉扎·德苏扎,CJ·布隆菲尔德,乔治·布吉斯,Callan Colley,Saphira Moran,George Tilley,Liam Resnekov,罗基·弗里杰里奥,Alex BallesterosStory follows an out-of-work steel worker as he struggles to provide for his family and avenge his brother's death by fighting in a mixed martial-arts match against a dangerous opponent.
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.