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內向的波蘭裔青年塔爾科夫斯基(羅曼·波蘭斯基 Roman Polanski 飾)獨自來到巴黎,希望在此租住一間公寓。這間房之前的房客西蒙·肖(Romain Bouteille 飾)不知出於何種原因跳樓自殺。在西蒙於醫院中氣絕身亡後,塔爾科夫斯基順利地成為了新的房客。 喬遷之喜並未給他帶來太多歡樂,周遭的壓抑氣氛無時無刻不在侵擾他的神經。這樁古老的公寓中住著許多古板沉悶的人,他們抱怨塔爾科夫斯基製造過多的噪音、聯名排擠其他房客……這個可憐的青年雖然小心應對,卻漸漸被他們逼向絕境。塔爾科夫斯基開始意識到西蒙·肖自殺的原因,他同時發現,自己也正被這群怪房客引向毀滅的終點……
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Simon, a young man with exceptional powers, tracks down a serial killer, battling not only his own demons but a government agency that has decided Simon is too dangerous to be allowed to roam free. Based on a bestseller by Peter Flannery.
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A man, who years earlier mysteriously abandoned his family and isolated himself in a small northern town, returns for one last chance to reconnect with his troubled daughter. When she goes missing, he risks everything to find her, including exposing the fact that he is becoming invisible.
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在一個與世隔絕的寺院裡,僧侶們為被附身的人開了一家診所。一天,年輕的警察馬雷克來到修道院。他偽裝成一名牧師,深入修道院生活,試圖解釋最近幾名備受折磨的囚犯神秘失蹤的原因。然而,事實證明,修道院是沒有出路的。
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聖誕前夕,11歲女孩佐伊·韋弗(艾米麗·亞哈伯曼 Amelia·Haberman飾)刻薄的養父母在自家雙雙被害,身體自燃燒成了焦炭,怪異案情讓警方束手無策。為查找線索,協助警方辦案同樣身為養母的兒童心理學家瑞秋·斯圖爾特(莫妮卡·恩格塞爾 Monica Engesser飾)和正受困於婚姻危機的警探邁爾斯·奧康納(詹姆斯·雷 James Ray飾)探訪了暫時安身兒科醫院的佐伊。在不斷接觸和調查中,瑞秋發現佐伊不僅古怪、陰鬱以恐怖玩偶“聖誕惡魔krampus”作伴,還有不為人知的可怕過去。 隨著自燃案件陸續發生,瑞秋意識到似乎一切都與女孩和她的玩偶有關,清算才剛剛開始······
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In 1830, forty years to the day since the last manifestation of their dreaded vampirism, the Karnste...
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Constantly on the hunt and suffering from hallucinations that drive his violent nature, an unnamed man is capturing women and savagely beating them to death. Meanwhile, a woman is luring men into a violent end, by way of her knife. Driven by the same force to make the opposite sex suffer, the killers’ fates intertwine. The two must face off in a battle to the death, in which they are forced to reveal the horrible truth behind their addiction to murder. “Brutal” takes an interesting approach to its visuals, drawing heavy influence from Western “Grindhouse” films, using a filter to make the footage appear grainy, damaged, and with light and color fluctuations. Unfortunately, the visual styling ends up feeling misguided, as other than applying the filter it does not imitate any other aspects of the “Grindhouse” genre. Despite trying to dirty up the film, it is apparent it was shot on digital. The cinematography is also a step above most “Grindhouse” productions, with Takashi Hirose proving he has talent behind the camera. Exterior shots to those taking place in small spaces are all competently framed, lit, and transition well. The decision to add an effect on top of the work hurts the film’s imagery and even gives a sense of desperation to try to capture a certain type of nostalgia with the audience, instead of relying on its own strengths. It is unfortunate when one creative choice can hurt a production so much. The story of “Brutal” is simple but effective, it does attempt some sort of social commentary about the violent nature of men and women, but it does not offer enough depth into the subject to justify the amount of violence on display. The film does end on a strong note with an interesting twist, with a reveal that is bound to gross some out, while giving others a chuckle. In spite of its simple nature, those who enjoy films that make them somewhat uncomfortable and enjoy the challenge of getting through some ultra-violence, “Brutal” poses a fun and entertaining challenge in that regard.
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