剧情简介
西蒙·佩吉饰演一个从儿童文学转向犯罪小说写作的作家杰克，相爱为了写作一个名为《几十年的死亡》（Decades of Death）的剧本，相爱天生胆小的杰克开始调查一些维多利亚时期连环杀手的资料，导致自己患上严重的妄想症，总是臆想自己会遭到谋杀。就在杰克生活搞得一团糟的时候，一个神秘的好莱坞片商却对他写出的剧本表示出极大的兴趣。
相爱的人啊
西蒙·佩吉饰演一个从儿童文学转向犯罪小说写作的作家杰克，相爱为了写作一个名为《几十年的死亡》（Decades of Death）的剧本，相爱天生胆小的杰克开始调查一些维多利亚时期连环杀手的资料，导致自己患上严重的妄想症，总是臆想自己会遭到谋杀。就在杰克生活搞得一团糟的时候，一个神秘的好莱坞片商却对他写出的剧本表示出极大的兴趣。
回复 :深夜，一批戒备森严的神秘货物被盗窃劫持……以奥森为首的特工团队被政府安全部门勒令秘密调查此次事件。经调查，神秘货物名叫“密匣”,是一款可编程人工智能程序，拥有它的人可随心所欲地控制军事、金融等世界上任何的电子系统。“密匣”已在黑市上进行高价炒卖，亿万身家的军火商格雷格则是这宗地下买卖的交易中介。奥森决定前往交易现场假扮接头人，但意想不到的是另有一支队伍横空出现抢走了“密匣”，奥森和他的队伍能否再次杀出重围并完成拯救世界的任务？
回复 :肯特是美国西部巴特尔勒克特市的头头，他由于一种作弊的纸牌游戏落入了城镇巡逻队员的控制之中，也使得一个叫谢里夫·科格的人被杀害了。该市市长与肯特密谋使本镇陷入混乱，以获得自己的利益，他们安排了一个华盛顿·蒂斯代尔的人作为新的治安官，他们以为这个人很好控制。但是，他们不知道蒂斯代尔原来是一个著名检察官汤姆·戴斯特里的代理人，戴斯特里有强大的势力，能够安排更为强大的人马来作为蒂斯代尔的副手。肯特和市长没有想到这一点，虽然他们通过各种周密的计划，想要控制整个事态的发展，但最终失败了，他们的阴谋和罪行大白于天下。
回复 :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.
