向喜欢的女同事告白
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热门影视 大家都在看
导师2025
Sornram Aneklap,帕林亚·昂萨南,塔那万·霍查雷拉哈,尼措空·卡琼伯利叻,因托楚克·英拓楚克·倥拉玛苏皖,Sueangsuda Lawanprasert棋盘上的向日葵电影版
坂口健太郎,渡边谦,佐佐木藏之介,土屋太凤,高杉真宙,音尾琢真,柄本明,渡边一计,尾上右近,木村多江,小日向文世科学怪人的怪兽 山达对盖拉
ラス・タンブリン,睦五郎,佐原健二,水野久美愿者安息
里法特·桑贾尔,Emrah Altintoprak,Cansu Türedi旷野
亨特·杜汉,山姆·贾格,凡妮莎·肖得闲谨制
肖战,彭昱畅,周依然,杨新鸣,阿如那,甘昀宸,周思羽,严知度,尹正,祖峰,廖凡,许君聪,江奇霖,任程伟同类推荐
我，许可
文淇,秦海璐,白客,李雪琴,牛莉,刘佳,啜妮,王和,张馨文,张懿曼,黄少峰,李哲霆,黄博远,李冠廷,刘杰毅,合文俊,翟韬00后“母单”女孩儿许可（文淇 饰）面临一场迫在眉睫的妇科手术，却因妈妈胡春蓉（秦海璐 饰）的突袭式造访打乱了所有计划。母女同居，冲突乍起。在新旧观念的摩擦中，没想到女儿对妈妈展开了一次又一次反向教育——跟妈谈心，不如带妈蹦迪；给妈上生理课，不如直接送妈小玩具……最终许可能否顺利手术，胡春蓉又能否鼓起勇气开始新生活？这场笑点和泪点齐飞的大戏，又将如何重塑两人之间的母女关系……
东北警察故事3
谢苗,林晓杰,崔志佳,黄米依,伍允龙,马千壹,张磊,冯瑶,唐鉴军,田娃,吴莫愁李红旗要办婚礼了！本想婚礼一切从简，但彪悍热心的丈母娘（林晓杰 饰）坚持做主想大操大办，李红旗不得不飞往海角，落地后却得知飞机邻座女孩昕昕（马千壹 饰）被人贩子拐走。面对凶残狡猾的犯罪团伙，李红旗与当地办案风格迥异的警察孙彪（崔志佳 饰）强强联手，在婚期逼近的倒计时中和人贩子头目秦叶蓉（黄米依 饰）及卖鱼佬（伍允龙 饰）展开殊死搏斗。婚礼筹备笑料百出，办案追凶惊心动魄——红旗不倒，正义不休假！看李红旗如何罪犯、幸福两手抓。
水之年代
伊莫琴·普茨,索拉·伯奇,詹姆斯·贝鲁什,汤姆·斯图里奇,查理·卡里克,杰瑞米·安·琼斯,厄尔·凯夫,苏珊娜·弗拉德,米迦勒·埃普,金·戈顿,亚历山大·约翰逊,埃斯梅·艾伦,安娜·维托夫斯基,安东·利特维诺夫,阿丽娜·利特维诺娃,多米尼克·加布里埃尔·罗塞蒂,哈尔·韦弗,埃莉诺·哈恩,彼得·伦德尔,玛丽娜·斯尼加莉迪娅从小在父亲的暴力阴影下长大，游泳是她唯一的逃避方式。她凭借奖学金进入大学，却在成年后陷入毒瘾、混乱的性关系和失去孩子的痛苦中。她的人生如同水流，时而湍急、时而沉寂，无法掌控方向。在最深的低谷中，莉迪娅开始写作。文字成为她的呼吸，也成为她重新定义自己的方式。她不再只是受害者，而是讲述者，是创造者。通过回望过去，她一点点拼凑出破碎的自我，也在写作中找到了勇气。 影片改编自莉迪亚·尤克纳维奇所著回忆录。
狙击精英∶孤魂野鬼
查德·科林斯,汤姆·贝伦杰,瑞安·罗宾斯,乔什·布雷纳,Tuks Tad Lungu,多米尼克·马厄,Manuel Rodriguez-Saenz,米歇尔·伊萨·卢比欧精英狙击手布兰登·贝克特与他的小队在哥斯达黎加执行一项秘密任务时，遭遇阴谋陷害，任务失败演变为国际丑闻。为了掩盖真相，美国政府直接撇清关系，将这群最锋利的战士定性为“恐怖分子”。前一秒还为国效力的英雄，后一秒就成了被自己国家通缉的逃兵。没有合法的身份，没有空中支援，甚至没有合法的射击通道，布兰登陷入了前所未有的孤立无援。
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.