巴特（大卫·安德斯 David Anders 饰）是一名军人，一次行动中，他不幸中枪死亡，而就在他的遗体入土没多久，巴特竟然复活了。有些搞不清楚状况的巴特找到了生前的好友乔伊（克里斯·维尔德 Chris Wylde 饰），经过两人的反复研究和论证，他们得出了结论——巴特变成了丧尸，并且要依靠吸血为生。 　　就这样，每到白天，巴特变回尸体，等到夜晚降临，他就生龙活虎起来。巴特对于鲜血的嗜求让乔伊十分困扰，经过商讨，一个绝妙的注意应运而生——既然必须吸食人血，那何不顺便消灭那些在洛杉矶像老鼠一样存在的肮脏和繁多的恶棍呢？说干就干，由丧尸和人类组成的惩奸除恶小分队诞生了。

巴特（大卫·安德斯 David Anders 饰）是一名军人，一次行动中，他不幸中枪死亡，而就在他的遗体入土没多久，巴特竟然复活了。有些搞不清楚状况的巴特找到了生前的好友乔伊（克里斯·维尔德 Chris Wylde 饰），经过两人的反复研究和论证，他们得出了结论——巴特变成了丧尸，并且要依靠吸血为生。 　　就这样，每到白天，巴特变回尸体，等到夜晚降临，他就生龙活虎起来。巴特对于鲜血的嗜求让乔伊十分困扰，经过商讨，一个绝妙的注意应运而生——既然必须吸食人血，那何不顺便消灭那些在洛杉矶像老鼠一样存在的肮脏和繁多的恶棍呢？说干就干，由丧尸和人类组成的惩奸除恶小分队诞生了。

首位拉丁裔反英雄暨蜘蛛侠又一反派电影《El Muerto》正在制作中，说唱歌手“坏痞兔”（Bad Bunny）主演，预计2024年1月上映。

首位拉丁裔反英雄暨蜘蛛侠又一反派电影《El Muerto》正在制作中，说唱歌手“坏痞兔”（Bad Bunny）主演，预计2024年1月上映。

When Dylan Wilson purchases a collection of seven paintings to hang in his wealthy estate, he has no idea what horrors he has unleashed for himself, his wife; Gina, his college son; Louis, his teen-age daughter; Donna, and his two little kids. Only Father Mendale knows what evils lurk inside this deadly art and the history of Dorian Wilde; the artist who made a pact with dark forces when he created these paintings that represent the seven deadly sins. Now, anyone who comes in contact with these pictures are corrupted by Pride, Lust, Gluttony, Sloth, Greed, Envy, and Wrath. It's up to Father Mendale and Louis' girlfriend; Kim to save Dylan and his family before they are all destroyed by the Art of the Dead.

在一个异常炎热的日子里，三个不同的家庭发现了一个奇怪的秘密——他们刚刚死去的亲人又回来了。他们不知道该怎么办——这些不是毫无意识的僵尸，而是完全不同的东西。但究竟是什么呢？

在一个异常炎热的日子里，三个不同的家庭发现了一个奇怪的秘密——他们刚刚死去的亲人又回来了。他们不知道该怎么办——这些不是毫无意识的僵尸，而是完全不同的东西。但究竟是什么呢？

安吉拉的女儿安妮（又名“小红”）神秘失踪，但警方从未发现她的尸体。当母亲开始揭开这个谜底之时，一个由被称为祖母的女族长统治的宗教崇拜却留下了血腥的痕迹。母亲越发疯狂，对她的怀疑就越深：安妮还活着吗？这是您所见过的最残酷，最扭曲的Slasher：这不是童话

1932, eine Familie zieht sich aus der Zivilisation zurück. 70 Jahre später wollen die Nachfahren wieder unter Menschen leben. Doch es existieren nur noch Zombies auf der Welt. Für die vier Brüder beginnt ein grausamer Kampf ums überleben! Die Odyssee der Hauptdarsteller scheint nie aufzuhören: Im Wald, in Dörfern, auf Bauernhöfen, in Hochhäusern, etc. kämpfen sie gegen Horden von Zombies. Mit Hilfe von Rasenmähern, Häckslern, Motorsensen usw. verwandeln sie die Erde in ein rotes Meer. Zum Film: In fünf Jahren Produktionszeit entstand der zweite Spielfilm von “FunAct Pictures”, bei dem über 100 Darsteller mitwirkten. “Untot – Kämpfer in der Leichenwelt” ist einer der blutigsten und lustigsten Zombiefilme aller Zeiten. Von der ersten Minute bis zum Ende bietet er gute Unterhaltung und ist für Genrefans und die, die es werden wollen, ein absolutes Muss.

From the New York Times review: 　　"In "Sankofa," a contemporary African-American woman travels back in time and experiences slavery. Haile Gerima's poetic and precisely detailed film takes its audience into its heroine's life and mind as her moral sense is challenged and changed. No viewer can avoid the discomforting questions the film so eloquently raises. 　　The opening sequences, set and filmed in Ghana, are alternately seductive and off-putting. Among drums and chants, a voice invokes ancestral ghosts. "Spirit of the dead, rise up," the voice says, "and claim your story." The film's title is a West African term meaning to reclaim the past in order to go forward, and "Sankofa" stumbles only in its depiction of the present. 　　Mona is a young model first seen posing for a callous white photographer on a beach. She is dressed in a pseudo-Tina Turner getup complete with blonde wig. This is a heavy-handed way of showing that she has lost her connection to her past, that slavery still shapes her life as she is enslaved by contemporary images. 　　But the film soon moves on, convincingly, to a surreal experience. Mona wanders into a dungeon, a holding place from which slaves were shipped to the United States. She has walked into the past, where she is stripped, chained and beaten. Suddenly she is on a plantation, a house slave called Shola, with no memory of Mona or the 20th century. 　　The longest and finest part of "Sankofa" is its depiction of the daily life of the slaves and the way witnessing its brutality changes Shola. She falls in love with a rebellious field slave, who urges her to poison her white owners. Shola refuses. Though the master rapes her at will, she believes killing is wrong, no matter what injustice has been done to her. 　　But Shola soon sees a pregnant runaway slave beaten to death, her living child taken from her body. And she idolizes Nunu, a strong and motherly slave who has joined the rebels. 　　Nunu's son, Joe, is the head slave, who has an easier life and seems to have turned against his own people. He is blue-eyed and in the thrall of the white priest, and his story should have been as compelling as Shola's. But his character is less convincing, partly because his tortured sense of identity is so often depicted by sudden mood swings and glances at paintings of white Madonnas in church. 　　Shola, however, (played with great strength by Oyafunmike Ogunlano) carries the audience into the heart of her experience. When she lifts a machete over a sleeping white overseer, the film has led its viewers to a place where either choice -- to kill or not -- might be justified. "Sankofa" asks its audience to enter a different moral universe, one that slavery created. 　　Mr. Gerima is an Ethiopian-born film maker who has lived in the United States for decades and teaches at Howard University. His film is ambitious in its depiction of slavery and accomplished in its visual command, from the bright red scarves of the rebellious slaves to a fire they set in the fields. 　　"Sankofa" opens today at the Harlem Victoria 5 Theater. Engrossing and provocative, it sends Shola back to the present as Mona, and sends viewers along with her. Armed with visceral new knowledge, she can make of it what she will.