致命曝光
一个变态的摄影师已各种各样的杀人手法将前来照相的人杀死用来完成自己的摄影作品 hellip; hellip;非常不错的片子，很血很变态，一开头就有森林车震戏，而且片中的杀人手法没有一种相同的，并且手法都很不错，非常值得看的一部片子
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剧情简介
一个变态的摄影师已各种各样的杀人手法将前来照相的人杀死用来完成自己的摄影作品 hellip; hellip;非常不错的片子，很血很变态，一开头就有森林车震戏，而且片中的杀人手法没有一种相同的，并且手法都很不错，非常值得看的一部片子
同类好片
世界的主人
徐粹彬,张慧珍,金郑植,姜彩允,李宰锡,朴知玧,金艺昶,高旻示,白贤珠,卞重熙,文惠仁,郑恩京,李尚熙,李代延,金锡勋,林在赫邀请函
娜塔莉·伊曼纽尔,托马斯·多赫蒂,斯蒂芬妮·科内柳森,阿拉娜·博登,西恩·帕特维,休·斯金纳,维拉格·巴拉尼,考特尼·泰勒,卡塔·萨博,伊丽莎白·康塞尔,斯科特·亚历山大·杨,杰瑞米·惠勒,卡罗尔·安·克劳馥,克里斯蒂娜·格蕾丝·萨尔科重案·无罪
张天其,步籽颖 Ziying Bu,于荣光,杜玉明,梁焯满,骆言,吴永康,朱梓玥,楼学贤,张嘉飞,张苡宁重大发现
尼尔·布林,丹妮尔·安德雷德德尔苏·乌扎拉
马克西姆·蒙祖克,尤里·索洛明,斯韦特兰娜·丹尼尔琴科指控之后
普拉蒂巴·兰塔,康柯纳·森·沙尔玛人气佳作
阴阳师2
野村万斋,深田恭子,中井贵一,伊藤英明,市原隼人黑暗之下
丹尼斯·奎德,托尼·奥勒,艾米·缇加登,斯蒂芬·朗斯福德开端2025
崔娜·蒂虹,大卫·丹席克,比约克·斯托姆,Luna Fuglsang Svelmøe,约翰·路易斯·施密特,Christine Gjerulff,Hanne Uldal,库尔特·德莱耶,Christopher Nallo,Frederik Malmose,Josva Engedal Jacobsen,Klaus Søndergaard,Andrea Enerstad Bolle,Alvin Bursøe,Karen Marie Holst Gudichsen,Noora Sofie Hjorth Biil柔似蜜
刘玉玲,劳伦斯·寿,奥赖恩·李,詹妮弗·林,胡紫蕊,陈清仁,伊莱文·李,安季·德贝尼德托,苏珊·波尔法,杰森.托特纳姆,戴夫·沙兰斯基,达纳·德·塞里斯,安东尼·科米斯,埃里克·莱威顿,格蕾丝·沈,凯特·凯林,扎克·卡尔德隆,阿蒂卡斯·埃尔萨斯,施安·汤姆林森,亚当·钱勒·贝勒特,约瑟夫·Y·李,弗兰妮·马斯,乔·梅导演精选
重度催眠
三层的独栋别墅里女孩发现了一具尸体，随后警方及时赶到，经检查后在案发现场又陆续发现了另外两名死者，和别墅的主人董医生。陈兵带队检查现场发现了几处疑点……幸存的董医生经过治疗逐渐恢复健康，并在医院里向警察说出了一段怪异的经历，雨夜别墅里发生的一切，都逐渐明朗开来……
养鬼吃人
经典恐怖片《养鬼吃人/猛鬼追魂》将拍新版电影，近日定下导演：大卫·布鲁克纳(《黑森灵》《鬼作秀》)。 原版讲述男子Frank不慎打开了另一个次元，被著名恶鬼“针头鬼”带领的魔鬼Cenobites所杀。而多年后，Frank的哥哥Larry带着妻子Julia，搬到了他已故的妈妈的老宅中，因为一次意外，Larry的血让Frank的尸体重生，也让恶鬼降临……后成了一个系列。新版将从系列第一部开始重启，据称将在忠于原版的基础上有进化。 Spyglass媒体公司打造。Ben Collins和Luke Piotrowski编剧，大卫·S·高耶(《蝙蝠侠：黑暗骑士三部曲》《刀锋战士》)提供故事并参与制片，这个导演、编剧、制片组合也就是今年圣丹斯电影节的热门恐怖片《鬼屋》的班底。
等待方舟
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.