魔女韻事

老周夜驚情

年過半百的養蜂人老周一生被金錢困擾，身患重病后不愿拖累在外打拼的兒子，獨自住進一家老舊酒店，打算在最后一夜寫下遺書，安靜告別。 　　可這一晚，他卻接連迎來三位不速之客：行蹤詭異的房客、鬧得雞飛狗跳的年輕人、帶著熟悉氣息的少女。 　　三段荒誕又驚險的奇遇，讓老周親身經歷了如同電影般的“犯罪”“鬧劇”“愛情”。他由此漸漸懂得，親情與真心，遠比金錢更加珍貴。一夜之間，他對人生、對陪伴、對愛，都有了全新的答案。

有情感的機器人

　　一名叫達爾的走失男孩被小鎮人們發現，由于沒人認領，他被帶到福利院。經過檢查，醫生發現他身體各項機能正常，而且智商很高，只是失去了一部分的記憶。　　達爾被安排暫時居住在安迪家。安迪和妻子喬依斯一直希望能夠領養一個孩子，達爾的到來令他們異常興奮。在相處的過程中，達爾和鄰居家的小男孩特塔成為了非常要好的朋友，他們一起上學、一起玩耍、一起為安迪的棒球隊贏得了勝利，大家都覺得達爾是個非常聰明而且惹人喜愛的男孩。　　忽然有一天，兩個自稱是達爾父母的人來接走了達爾，這令安迪全家和特塔非常傷心。達爾也對他們產生了深厚的感情，戀戀不舍地離開了安迪家。　　事實上達爾是一個在大腦中被植入芯片的機器人，但他現在具備了一個正常孩子的一切生理機能。來接他的也并非他的父母，而是制造他的博士。博士被達爾和安迪他們的深厚情感所感動，他希望達爾能像正常孩子一樣生活，但國家的高級官員卻要求摧毀達爾。博士在同事的配合下，將達爾帶出試驗基地，遭到警察的追擊，途中博士為了掩護達爾中彈身亡。　　達爾潛入空軍基地，開著戰斗機向安迪家的方向飛去。空軍基地地面遙控飛機在飛行過程中自動摧毀，達爾彈出飛機，降落在安迪家旁邊的湖中。達爾終于回到了屬于他的“家”中。

我的曼啊：2025圣誕特別篇

刺殺小說家2

　　陷入人生低谷的小說家路空文（董子健 飾）被巨大的誘惑牽引，導致他自己和書中的角色都陷入了不可逆轉的危機。最終小說家找回了信念，與書中人一起拯救了雙世界危機。

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.