隔世吸引力

　　20世纪30年代，战争的幽灵盘桓世界上空。纳粹相信妖术可以帮助他们迈向胜利，于是派出手下四处寻找便捷的“治世良方”。1936年，在美国西弗吉尼亚的一个偏僻乡村复仇溪，诚实善良的沃尔纳一家迎来一名不速之客。隶属于北美地区德国遗产学术委员会的理查德·沃斯博士（Michael Fassbender 饰）来到这里，借住在沃尔纳家。一家人虽然心有惴惴，不过看在钱的份上欣然接纳沃斯博士，并对其表现出诚挚的热情，却不曾想对方带来了难以置信的灾难。　　2007年，警察伊万·马歇尔（Henry Cavill 饰）生活正陷入困境。他的哥哥维克多（Dominic Purcell 饰）一度消失。当他以为兄长已死时，维克多却突然出现，带着弟弟来到复仇溪。维克多究竟经历了怎样的磨难？这与30年代沃尔纳一家的遭遇又有什么关联？

故事舞台设于云上天空王国。当王子从天空王国坠入阴雨连绵的角落小镇，救助王子的角落小伙伴们得知云上世界陷入严重水危机，为拯救王国展开冒险。

余书(乔新峰饰演)与梁澜(曹燕饰演)夫妇研发了革命性AI“超心智脑”，旨在复原古生物生态。因儿子(张恩硕饰演)重病急需资金，二人分道扬镳：梁澜与投资人何叔(张德晖饰演)合作，将AI用于建造赛博机械乐园；余书则携子离开，坚信技术不应沦为娱乐工具。多年后为救子，余书登岛交出原始代码。不料程序遭窃，机械巨兽失控暴走。危机关头，何叔牺牲自我换取生机，余书夫妇最终联手重启初代代码，关闭系统，阻止灾难。离岛后，他们发现何叔留下的代码备份与医疗资源。儿子康复后，将这段经历写成小说《未来之心》，见证科技、人性与爱的交织。

　　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.