剧情简介
凡是青春就要求爱，直男四个年轻小伙子这次要向泡妞高手杰克讨教，直男看如何才能正确地把妹、交到女朋友，让自已也成为「闪光」一族。然而爱情军师杰克自已也是一个头两个大，他似乎不像自已说的「一次搞定32个妹」，相反地，面临因怀孕而逼婚的女友感到手足无措，在决定以分手收场之后，这回杰克可尝到失去真爱的痛，后来透过写作来沉淀疗伤，痛定思痛决定再把女友追回来，而她…会轻易答应吗!就像全天下的情侣一样吵吵闹闹，他们能否画出美满的幸福蓝图？
直男视频
凡是青春就要求爱，直男四个年轻小伙子这次要向泡妞高手杰克讨教，直男看如何才能正确地把妹、交到女朋友，让自已也成为「闪光」一族。然而爱情军师杰克自已也是一个头两个大，他似乎不像自已说的「一次搞定32个妹」，相反地，面临因怀孕而逼婚的女友感到手足无措，在决定以分手收场之后，这回杰克可尝到失去真爱的痛，后来透过写作来沉淀疗伤，痛定思痛决定再把女友追回来，而她…会轻易答应吗!就像全天下的情侣一样吵吵闹闹，他们能否画出美满的幸福蓝图？
大黑摩季
回复 :“苍狼”特警队在原始森林中展开大搜捕；一支神秘队伍在森林中前行。他们的目标似乎都是“劫匪”许逸凡（林志颖 饰）和“受害人”何芊芊何芊芊（张娜拉 饰）。特种兵出身的许逸凡让阅历不丰的何芊芊第一次感受到天下竟有和自己男友萧寒（万思维 饰）截然不同的男人。凭着许逸凡特种兵的经验，他们最终克服艰难险阻，走出了原始森林，但却与“呆哥”（陈佳佳 饰）遭遇而大展拳脚，最终被“苍狼”特警队俘获。何芊芊的男友萧寒长相俊帅，学识渊博，深得何芊芊喜爱和爸爸何振雄（朱虎声 饰）的赏识，被安排在何振雄公司做副总。看着爸爸的身体愈来愈不好，何芊芊按照与爸爸签订的“合约”，还是决定与聚少离多的萧寒结婚，以了却爸爸的心思。然而，许逸凡的出现，完全打乱了这对恋人的生活。林雨馨（王子子 饰）经何芊芊的挽留，也来到了何家暂住。当晚的一场化妆PARTY，让苦苦寻找男友的林雨馨有了重大发现。第二天，林雨馨不辞而别。一宗扑朔迷离的奇案发生了，是情杀，还是劫持？伴随着案件的侦破，一段生离死别的奇缘揭开了！
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.
回复 :In 13th century a determined group of Knights Templar defends Rochester Castle against the tyrannical King John.
