玫瑰性杀手

　　没有任何人气的鬼怪小说作家严冬自命不凡，虽然专写灵异题材，但是却从不相信世上有鬼。他的经纪人兼好友包劲希望他能尽快写出真正恐怖且吸引人的作品，为此和他打赌世上到底有没有鬼。两人来到乡下，在专门为他人做法事的三姐的庵堂住了下来。三姐的徒弟们活泼三八，独有沉默的阿乐不与众人为伍。阿乐自幼拥有天眼，能够看到另一个世界的众生，为了不惹麻烦上身而小心回避他们。另一方面，严冬在包劲和女孩们的帮助下终于见到了鬼，却险些吓破胆，关键时刻多亏阿乐相救。　　自此之后他们越来越熟，而见鬼的日子也越来越多，盘桓在人间的众生希望借助他们得到超度……

　　由一桩荒诞的“卫生巾杀人魔”案件展开，讲述了几个在日本的中国人，阴差阳错地卷入一场黑帮斗争，与日本毒枭斗智斗勇的故事。他们一个是帮派面临倒闭妄图自裁的帮派老大、一个是吊儿郎当的黑导游、 一个是残暴歹毒的黑帮毒枭、一个是唯利是图的歌舞伎町老板、一个是胸怀大志却碌碌无为的警 探，每个人为了达到目的经历了一番复杂而有趣的遭遇。　　主角刚正是一个在日本漂泊的“老炮儿”，亲手建立的帮派日益衰落，试图自裁却意外卷进命案，发现了惊人的秘密。对正义与规矩的坚守，使他选择与日本黑帮毒枭正面对决。

Raka, a court security officer, and his pregnant wife, Nina, celebrate her success in passing the bar exam. While they have a rare evening of fine dining to savor the moment, their joyous celebration is shattered when Nina is found brutally murdered. The investigation quickly identifies Dika as the prime suspect, leading to his swift arrest. However, with the support of a shrewd and manipulative lawyer, Timo, the trial takes an unexpected turn that Raka could never have anticipated. As the trial spirals towards an unjust outcome, Raka resolves to overturn the corrupt verdict and seek justice for his late wife.

　　A grieving mother hires an enigmatic stranger to perform a ritual to resurrect her late husband. When the ceremony goes out of control, mother and daughter must overcome their differences and fight for survival.

 又是一个平静的日子，内裤爱好者八宝斋（永井一郎 饰）四面出击，惹得乱马（山口勝平 饰）、小茜、良牙（山寺宏一 饰）、珊璞（佐久間レイ 饰）等人纷纷加入进来，在镇上惹出巨大的骚动。正当众人闹得不可开交之时，一头裹挟着黑色杀气的大象突然袭来。它和美丽的主人向八宝斋发起攻击。与此同时，天空阴云密布，一艘巨船出现在空中。他们是来自中国内地寝昆仑的七福道神，这群神秘之人不仅抢走骑象少女带来的奥义经卷，还虏走了小茜。乱马一众不堪就范，决定启程前往中国……本片根据高桥留美子的漫画《乱马1/2》改编，系该动画的剧场版第一部。

　　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.