甩皮鬼

　　所谓的无船员的船携带咖啡驶入纽约,但是当警察和一些科学家在船上发现了船员可怕的尸体和大量的盒子装满绿色虫蛋。爆炸的时候蛋温度升高和任何人谁接触的物质都会爆炸。现在政府介入和幸存的军官,一名上校和一名宇航员发现这些蛋可能与灾难性的火星任务有关。

　　记者玲（李心洁饰）的男友Peter获得一宗刑事案件的新闻线报，前去取证途中突然遭遇交通事故意外身亡。玲觉得事有蹊跷，调查后发现一宗模特命案。女模特Helen裸死于家中浴缸，富豪之子张承志没有不在场证据，但事件竟被警方低调处理，张承志的相关证据也被消除。玲为不愿男友枉死，誓要调查出事件真相，但报社总编辑曾达时（梁家辉饰）却不愿为玲伸出援手。无奈之下，玲只好求助常常被追债的飞(黄秋生饰)与马仔(葛民灰)帮助她调查真相。飞原来是警察出身，在调查中，他发现Peter的死因确有蹊跷。随着调查的进行，黑暗中的黑手不断想将玲置于死地，究竟事件的真相能否登上报纸的A1头条？真相与言论自由的赛跑，在香港的午夜开始。

　　故事背景设置在残酷的娱乐圈内，这个充斥着浮华、魅影、聚光灯的幕后。渐渐褪色的电影天后Shanaya求助于黑魔法来阻扰平步青云的影坛新星Sanjana，因为Sanjana已不择手段地篡夺了她曾经的位置。无情的Sanjana还利用她的爱人Aditya对付她，而Aditya当初和她在一起，只不过是把她当成一颗棋子助自己事业一臂之力。Aditya爱上了Sanjana并发誓会保护她，然而此时的Shanaya已成为一个疯狂的魔鬼，她誓要耗尽他们所有人的生命。

　　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.