血染红唇
纯情少女林慧虹因交友不慎,于郊游时遭强暴,此时万念俱灰,虽有表姐淑娟开导,仍去不掉除恶之心,以色诱不法之徒..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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背后有人2025
郑文森,王子涵,邹超军,刘刚,万斯佳夺命之爱
Jessica McNamee,Richard Wilson,Xavier Samuel太空生活
罗伯特·帕丁森,朱丽叶·比诺什,安德雷·本杰明,米娅·高斯,阿加塔·布泽克,拉斯·艾丁格,克莱尔·陈,伊万·米切尔,格洛里亚·奥比安约,斯嘉丽·林赛,杰西·罗斯,维克多·班纳杰,Juliette Picollot,Mikolaj Gruss,Weronika Wachowska731
姜武,王志文,李乃文,林子烨,孙茜,冯文娟,温碧霞,李善玉,张琪,李彧,乌兰托雅·朵,平田康之,小野巽,佐藤匠,徐光宇白天是阿波罗，晚上是雅典娜
吉泽姆·比尔根,梅利·杜泽恩利,巴里斯·戈内嫩,内拉·卡亚巴西,拉尔·曼苏尔,德尼斯·图尔卡利,塞伦·乌柴尔,埃兹吉·切利克饮食男女1994
郎雄,杨贵媚,吴倩莲,王渝文,张艾嘉,归亚蕾,赵文瑄,陈昭荣,陈捷文,卢金城,唐语谦,洪其德,王瑞,杜满生,王玨,陈妤,左正芬,许敬民,聂卓晶,丁仲同类推荐
冰风暴
凯文·克莱恩,琼·艾伦,西格妮·韦弗,亨利·科泽尼,托比·马奎尔,克里斯蒂娜·里奇,伊利亚·伍德,亚当·汉拜德,大卫·克朗姆霍茨,杰米·谢尔丹,凯特·伯顿,威廉·凯恩,迈克尔·昆普斯蒂,玛雅·丹齐格,凯蒂·霍尔姆斯,艾莉森·詹尼1973年美国康涅狄格州，感恩节快要到来，一场冰风暴也即将到来。平凡乏味的家庭生活使中年夫妻厌倦，丈夫本•胡德（凯文•克莱恩饰）一直在引诱邻居珍妮特•哈珀，而妻子（琼•艾伦饰）对丈夫的谎言也早已不耐烦了。儿子保罗（托比•马奎尔饰）迷恋着学校里最有人缘的那位女生。女儿温迪（克里斯蒂娜•里奇）兴趣于电视里的水门事件听证会。 冰风暴的夜晚，夫妻两个去朋友家参加一个鸡尾酒会，鸡尾酒会的一个重要内容是进行换房间钥匙的游戏。在酒会结束后，每个妻子都可以和别家男人结成新欢。而他们儿子则赶去面对一场诱惑与考验，女儿正陶醉在同邻家男孩子的性游戏中……
时间之外的故乡
郭辉,朱宇涵,蔡宣萱大二在读的安小河，因高利贷等事遭到“追杀”，30岁画家康梅梅因接到“病危”通知，两人先后“逃”回到恒河边的家乡，与在村里梦想有一天能在河里找到传说中金碗的农民康大恒在争吵和交往中，安小河对康梅梅产生了不一样的情愫，父女多年的隔阂也冰释前嫌。
雏菊2006
全智贤,郑雨盛,李成宰,姜大卫,林迪安阿姆斯特丹，两个男人爱上了同一个女人，注定了一段纠缠的故事。惠瑛（全智贤饰）是画家，每天到广场帮路人画肖像，而像她一样风雨不改的，还有某人送来的一盘雏菊。每天雏菊总是准时送到，让她心里悸动而好奇。一天，匆匆而过的正佑(李成宰 饰)遇上了画家。他本是国际警察，来这个城市追捕杀手，然而却迷上了温婉动人的惠瑛，他让惠瑛帮他描肖像，他们的爱情在萌发盛开。这些情景，送花人看在眼里，痛在心里。他的身份注定了他必须给正佑让出位置，对惠瑛默默付出。因为，他就是正佑所寻找的杀手朴义(郑宇成 饰)。但是，强烈的爱终究让他不再躲在暗处，他决心争取幸福。二人在法律上，感情上的鲜明对立，注定了不能完满的结局，鲜血在惠瑛描有雏菊的花布上蔓延开来……
利刃之刀锋战士
魏小欢,张博楠,马畅,刘冰讲述的是程岗所在的特警队在局长陈海安的运筹帷幄下，与黄赞为首的走私犯罪集团斗智斗勇，最后将犯罪分子一网打尽的故事。展现了以程岗、沈欣为代表的特警，为破获文物案和围剿犯罪分子所作出的牺牲和奉献。
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.