脱衣女仆2

　　《一夜大肚》中的夫妻皮特（保罗·路德 Paul Rudd 饰）与黛比（莱斯利·曼恩 Leslie Mann 饰）如今年过四十，虽然黛比已经拥有一个不错的精品店，皮特也开了自己的唱片公司，然而生活的暗礁还是渐渐围困了这个家庭：不仅皮特开始需要借助“伟哥”，两人的父母也年岁渐衰，需要供养，皮特的唱片店近来也在艰难维系，两个还在上学的女儿更是每天把家里弄得鸡飞狗跳。夫妻二人深感走入了爱情坟墓的同时，连生活的激情与乐趣也将要被消磨殆尽。黛比在与朋友谈心之后，终于决定要挽救自己的婚姻，而此时，她已经怀上了皮特的第三个孩子……　　本片为导演在2007年的喜剧电影《一夜大肚》的一个独立续集。

　　故事设定在“猿流感”病毒蔓延全球的背景下，人类几近毁灭，而进化为高级智慧生物的猿类一跃成为食物链顶端的王者。时移世异，暴虐的猿类首领赛撒（凯文·杜兰 Kevin Durand 饰）在一片废墟中建立起猿族历史上的第一个帝国——“猩球”崛起，这是世界新秩序诞生的黎明时分。神秘的人类女孩诺娃（弗蕾娅·艾伦 Freya Allan 饰）的出现，引起了赛撒的警觉。她似乎掌握着一个巨大的秘密，不仅关乎人类的存亡，甚至可能再度颠覆整个“猩球”。被迫逃亡的诺娃在躲避赛撒军队的过程中，与青年猿类诺亚（欧文·泰格 Owen Teague 饰）的命运交汇，揭开了一段冒险的旅程。

　　西雅图发生一宗商店杀人案，曾被告谋杀亲妻的法医大卫前往勘验。 无意中却在凶案现场发现与妻子遭谋害时的相同线索，于是他决定展开调查。 然而调查工作始终毫无展获，直到他在募款晚会中结识一位美丽的神经学教授玛莎。 玛莎正研究某种特殊配方药剂，可将老鼠的记忆力进行移植。 这使得大卫突发其想，偷走药剂并将死者的记忆力注入自己体内进行人体试验，好一睹凶案经过，找出凶嫌破案。　　就在大卫一心想帮助警方破案的同时，凶嫌却在与警方对峙时中枪身亡。 失去唯一线索的大卫，只能借用已死凶嫌的记忆找出下一步线索。 原以为到此即将结束的凶案及往日冤屈，却在大卫亲身体验已死凶嫌的记忆过程中全面翻转。 他发现了攸关自身的天大谎言…

　　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.