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柏林綜合癥
泰莉莎·帕爾墨,馬克思·雷邁特,馬蒂亞斯·哈比希,艾瑪·巴丁,艾爾邁拉·拜赫爾米,克里斯托夫·弗蘭肯,露西·阿倫,納西姆·阿瓦特,馬琳·斯特芬,圖索·勒克維,拉拉·瑪麗·繆勒,瑪雅·阿布斯貝格澳大利亞攝影記者克萊爾（泰莉莎·帕爾墨 Teresa Palmer 飾）在柏林度假時(shí)邂逅了當(dāng)?shù)啬凶影驳希R克思·雷邁特 Max Riemelt 飾），一見(jiàn)鐘情的兩人共度春宵，激情過(guò)后意想不到的危險(xiǎn)來(lái)臨，克萊爾醒來(lái)時(shí)發(fā)現(xiàn)自己被安迪反鎖在家中，而安迪似乎并不打算讓她離開(kāi)……
摩登神探
鄭則士,廖偉雄,羅烈阿燦（廖偉雄飾）與肥則(鄭則士飾)一對(duì)活貝警界立下不豐功偉績(jī)。但每次都是烏龍百出，錯(cuò)有錯(cuò)著之下破案的，一次因涉嫌收藏大陸的非法人蛇，倆人同被革除職務(wù)。二人于無(wú)意中得悉一名叫契爺?shù)暮谏鐣?huì)頭子，擄去一富翁的小孫，但倆人是被革退的警員，又怎樣去處理或能否撲滅契的犯罪集團(tuán)呢！ 肥則為了娶阿芳（鄭麗芳飾）為妻，收留了從大陸偷渡過(guò)來(lái)的大姨媽及其女阿珍（阮佩玲飾）。阿燦愛(ài)上了賢淑可愛(ài)的阿珍，兩人很快墮入愛(ài)河。另一方面，犯罪集團(tuán)主腦契爺（羅烈飾）及得力女助手阿JOE策劃一樁勒索案，但取贖金時(shí)險(xiǎn)比警方捉拿。無(wú)計(jì)可施時(shí)，契爺捉走阿珍及阿芳來(lái)威脅阿燦及肥則替他們?nèi)≮H金，并在他們身上裝了一遙控計(jì)時(shí)炸彈…
靈魂密室
Katherine McNamara,Dove Cameron,Braeden Lemasters,Ryan McCartan,Tiffany Espensen一位邪惡的馬戲團(tuán)老板在幾位高中生的小鎮(zhèn)上演“鬼屋”，他們必須抗拒他的魔咒。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚(yáng)·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾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.
羅生門(mén)
三船敏郎,京町子,森雅之,志村喬,千秋實(shí),上田吉二郎,本間文子,加?xùn)|大介羅生門(mén)，日本京都的正南門(mén)。云游和尚、砍柴人和乞丐在城門(mén)底下避雨，三人閑聊，話題開(kāi)始，故事的序幕拉開(kāi)：一個(gè)武士和他妻子路過(guò)荒山，遭遇了不測(cè)。妻子被侮辱，而武士慘遭殺害。慘案如何釀成？?jī)词?、妻子、借武士亡魂?lái)做證的女巫，都各有說(shuō)法。真相只得一個(gè)，但是各人提供證詞的目的卻各有不同。為了美化自己的道德，減輕自己的罪惡，掩飾自己的過(guò)失，人人都開(kāi)始敘述一個(gè)美化自己的故事版本?；纳缴系膽K案，成了一團(tuán)撥不開(kāi)看不清的迷霧。談?wù)撏戤?，雨過(guò)天晴?？巢袢嗽诹_生門(mén)旁發(fā)現(xiàn)一個(gè)哭泣的棄嬰。他決定收養(yǎng)下來(lái)，抱著嬰孩往夕陽(yáng)深處走去。
奸人本色
董驃,許冠英劉父半生積蓄被奸商所騙，更在法庭敗訴，郁郁而終，死前托女兒小云找奸人家族報(bào)仇。奸人家族一早不值奸商所為，設(shè)下以奸治奸的圈套，不料簡(jiǎn)仁與簡(jiǎn)貴為爭(zhēng)小云歡心，被奸商利用……