96超级床上接班人

　　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…

一只莱亨鸡从冰冷的工业化养殖场逃离，踏上未知的流浪之旅。它闯入一家家族经营的小餐馆，在鸡舍中找到栖身之所，这里却暗藏人口走私的黑暗交易。母鸡一心筑巢繁衍，为守护未来的蛋对抗贪婪的餐馆老板，在生存本能的驱使下步步为营。与此同时，餐馆里的人类故事暗流涌动，一场悲剧正在悄然上演，母鸡的母性抗争与人类世界的残酷现实，在同一屋檐下交织上演。

　　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.