半条命

　　家明（张家辉 饰）是一名电脑设计师，他深深的爱着一个名叫张静（卫莱 饰）的女孩，但性格腼腆的家明不敢向张静表白，只能够将这份感情深深的埋藏在心底。一天，一道闪电劈中了家明的电脑，让家明没有想到的是，自己家的电脑竟然是一台拥有人工智能功能的超级电脑，电脑知道家明苦恋张静，于是为他出谋划策，还定制了精密的追求计划。
　　在超级电脑的帮助之下，家明最终抱得美人归。然而此时的家明却失去了初心，仰仗着电脑的帮助整日在外面沾花惹草。最终发现这一切的张静选择离开了家明，对于张静的离去，家明并没有怎么放在心上，因为他还有很多的“女朋友”可以为他排遣寂寞。

　　被称为“韩国硅谷”的板桥遭到核弹袭击。根据韩国政府的指示，某风险企业的家族成员决定在自家地下室躲上两个星期。一天天过去，地下室的生存愈发艰难……

　　《通向行星路》的制作期长达三年，它是一部雄心勃勃的意识形态电影，包含着极具开创性的特效和精湛的手工模型作品。这部影片对库布里克《2001太空漫游》（2001：A Space Odyssey，1969）中对失重状态、灼热的星球和旋转式的太空站模型的在现实主义描写有着重要影响。
　　Klushantsev的《通向行星路》捕捉到了太空竞争的时代思潮。按照莫斯科电影官僚的指示，他在影片中增加了苏联第一个绕地卫星的模型。结果，这部五十分钟电影在苏联激起了观众的恐慌。据报道，电影片段在美国电视播放时，有些观众恐慌得晕厥过去。
　　这使得他随后的影片也是他唯一一部标准长片——1962年的《暴风雨之星》让人有点失望。这部影片是这一时期苏联科幻电影知名度较高的一部，故事由一队到金星探索的苏联航天员展开，队伍中有四个男人，一个女孩，还有一个笨重的机器人（这个机器人很明显是效仿了米高梅影片《禁忌星球》（Forbidden Planet，1956）中的机器人角色）。当两个宇宙飞船被流星摧毁时，这一队人被迫在星球表面下降着陆。他们一着陆就遇到恶毒的蜥蜴人，掠夺性的翼龙和食人的植物，而最后，他们得以逃离，回到太空中。

　　时间是1979年，美国俄亥俄州一个平凡小镇。少年乔·兰布（乔尔·科特尼 Joel Courtney 饰）痛失母亲，生死悲痛让他久久地沉默。数月后，他应好朋友查尔斯（雷利·格里芬斯 Riley Griffiths 饰）的邀请，决定约上几个朋友一起用超8摄像机（8 mm）拍摄一部恐怖电影。当然令他下定决心的，是那个令她心仪的美丽女孩爱丽丝（艾丽·范宁 Elle Fanning 饰）也参与其中。在某个夜晚，爱丽丝驾驶父亲的汽车载着伙伴们来到火车站拍戏，谁知却目睹了一场极其惨烈的火车事故。
　　这起事故还只是一系列不寻常事件的开始，小镇上的人们相继离奇失踪，各种奇怪的事件也接连发生。少年们的摄像机记录关于这一切的秘密……

　　星际联盟收到探索飞船发出的求救信号后立刻派遣星际精英特种小组前去营救，由于机器故障飞船迫降到那个荒芜且怪异的星球上。不久后，船员在星球上发现了那艘废弃的飞船，但里面的飞行员都莫名其妙的死去，为了防止尸体异变，他们决定把尸体全部销毁。随后船员们发现了金字塔般的巨大建筑物，然而噩梦从此开始，他们释放了金字塔中所有的嗜血星际怪兽，星球瞬间被恐怖包围，丧尸怪兽一并向人们袭来，他们该如何挽救自己…… （此片精彩的没话说，星球大战般的场景加异型的特效以及著名的cult片演员们齐聚在一块所产生的名词是什么？那就是经典~！ 这部B级片的经典程度已经影响到未来科幻恐怖电影的发展前途，像黑洞表面之类的电影就是对其进行无耻的抄袭。影片甚至影响了*本成人动漫的一个类型，那就是触手系漫画~片中有经典的蠕虫强*金发奶霸的震撼镜头，这就是八十年代恐怖片的魅力……）
　

　　人类对纳米机器人的研究进入到了最后时刻，就在这关键期，科学家发现一旦纳米虫进入复制阶段，人类将无法控制。但是一个掌握了核心技术的权威被富商收买私下研究，一直没有攻克一些软件技术上的难题。正在此时，张昊，一个研究纳米虫的天才出现了，成为权威张博翰的助理。可是这个助理并不老实，偷窥实验室的一些不准他涉足的地方。最后真相暴露，张昊是另外一家公司的商业间谍，专门来窃取张博翰的核心技术的。此时揭露出了一个惊天真相，张博翰用已经怀有身孕却已故的妻子实验了纳米虫技术，生下了一个完全纳米虫体质的女儿......

　　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.