宫雪花版武则天
唐朝太宗晚年，十四岁武媚进宫，虽然样貌出众，奈何后宫佳丽三千，未能得到太宗宠幸，直至17岁那天，武媚在后花园，觉得如此生活虚度年华，决定逃跑，半途被捕同时也引起太宗留意，著令她留在身边伺候，因祸得福，民谣说唐三世之后，当属女主武王，太宗下令杀尽姓武人士武媚力劝太宗以国家为重，勿滥杀无辜，九王子晋王李治为人忠厚老成，一次在御花园，太宗向她查问书画之事，一时语塞，幸武媚为他解围，两人彼此留下深刻印象，故事由此展艾旦影视,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！
剧情简介
唐朝太宗晚年，十四岁武媚进宫，虽然样貌出众，奈何后宫佳丽三千，未能得到太宗宠幸，直至17岁那天，武媚在后花园，觉得如此生活虚度年华，决定逃跑，半途被捕同时也引起太宗留意，著令她留在身边伺候，因祸得福，民谣说唐三世之后，当属女主武王，太宗下令杀尽姓武人士武媚力劝太宗以国家为重，勿滥杀无辜，九王子晋王李治为人忠厚老成，一次在御花园，太宗向她查问书画之事，一时语塞，幸武媚为他解围，两人彼此留下深刻印象，故事由此展艾旦影视,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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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.