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創(chuàng)圣大天使：一發(fā)逆轉(zhuǎn)篇
寺島拓篤,嘉數(shù)由美,小林沙苗,森川智之,石冢運(yùn)升,玉川紗己子,飛田展男,小野坂昌也,阪口大助,日笠山亞美,青森伸,矢尾一樹(shù),兵藤真子,杉田智和,齋賀光希,樸璐美,風(fēng)間勇刀,佐藤裕美,四宮豪,仁科洋平,足立友,我妻正崇食人之饑
馬克-安德烈·格隆丁,莫妮亞·肖克里,Charlotte St-Martin黑神駒
凱利·雷諾,米基·魯尼,特瑞·加爾,克拉倫斯·繆斯,霍伊特·阿克斯頓給我你的愛(ài)2
塔布,阿賈耶·德烏干,馬達(dá)范,妮哈.沙爾瑪,拉庫(kù)爾·普雷特·辛格解放3：主攻方向
米哈伊爾·諾日金,尼古拉·奧拉寧,米哈伊爾·烏里揚(yáng)諾夫,拉里莎·戈盧布金娜,Bukhuti Zakariadze,瓦西里·舒克申,尼古拉·雷布尼科夫,弗拉季斯拉夫·斯特爾熱利奇克,Yevgeni Burenkov,阿納托利·羅馬申,彼得·謝爾巴科夫,伊萬(wàn)·彼列維捷夫,弗拉德連·達(dá)維多夫,謝爾蓋·哈欽科,德米特里·弗蘭科,T?nu Aav,Fred Alexander,Ingrid Andrina,維克多·阿夫久什科,Iren Azer,Viktor Bajkov,Martha Beschort-Diez,穿越愛(ài)情線
葉灝基,關(guān)嘉敏,許俊豪,陳康琪同類推薦
恩典
托尼·塞爾維洛,安娜·費(fèi)澤蒂,奧蘭多·辛克,馬西莫·文圖列洛,米爾維亞·馬里利亞諾,朱塞佩·蓋亞尼,喬瓦娜·圭達(dá),阿萊西亞·朱利安尼,羅伯托·齊貝蒂,Vasco Mirandola,Linda Messerklinger,Rufin Doh Zeyenouin,Simone Colombari,Alexandra Gottschlich,Lucio Zagaria,Francesco Martino,Tommaso Amadio,Guè Pequeno,Shablo,Fabrizio Bordignon馬里亞諾·德·桑蒂斯是意大利共和國(guó)總統(tǒng)。此人與現(xiàn)實(shí)中的任何總統(tǒng)均無(wú)關(guān)聯(lián)，完全是作者虛構(gòu)的人物。他喪偶多年，且信奉天主教，有一個(gè)女兒名叫多羅泰亞——和他一樣，女兒也是一名法律學(xué)者。任期即將結(jié)束之際，在波瀾不驚的日常中，兩項(xiàng)最后的職責(zé)擺在了他面前：就兩份敏感的總統(tǒng)特赦申請(qǐng)做出決定。這些抉擇構(gòu)成了真正的道德困境，并且以看似無(wú)法理清的方式，與他的私人生活糾纏在了一起。在疑慮的驅(qū)使下，他必須做出抉擇。而這位杰出的意大利總統(tǒng)，懷著強(qiáng)烈的責(zé)任感，必將履行這份職責(zé)。
蔗噬
喬茜·朱麗葉特·沃特,Kellan Jackson,Lacey Katena,Michael Mau,邦妮·布魯爾,Zach Ball,Ashley Nicole Blake,Haley Johnson,妮可·凱茨,Cullen Lovelock,Kevin J. Stone,Clarence Garner,貝內(nèi)特·韋爾奇,Will Landis,Cate Whitlatch一場(chǎng)與虐殺狂魔的生死競(jìng)速就此展開(kāi)——販賣幸存者拼死追蹤被綁少女，而自其失蹤后，每一小時(shí)流逝都令少女的生機(jī)愈加岌岌可危
月亮中的亞馬遜女人
阿瑟尼奧·豪爾,Donald F. Muhich,莫妮卡·加布里埃爾由21 個(gè)鬧劇穿插一部科幻短片組成的鬧劇，導(dǎo)演羅伯特（《怪異的阿爾 楊克維奇》）、約翰（《動(dòng)物屋》）等等都是環(huán)球影片公司的一線導(dǎo)演，他們的共同特點(diǎn)就是在搞怪搞笑方面各有絕招。這些短片大都是對(duì)美國(guó)夜間電視節(jié)目和低成本科幻片的戲仿，故事包括一個(gè)男子受到他所住的房子攻擊、一場(chǎng)由喜劇演員主持的葬禮和被吸進(jìn)電視機(jī)里的人等等?！ ⊙刍潄y 滿嘴放炮
金剛不壞2024
喬杉,柳巖,梁龍,孫陽(yáng),楊新鳴,桑平,劉長(zhǎng)純,代樂(lè)樂(lè)金剛回到了自己曾經(jīng)生活的地方，然而一切早已物是人非。這時(shí)，一起拐賣兒童的事件意外發(fā)生，金剛以一個(gè)局外人的身份開(kāi)始尋找被拐的女孩，在這個(gè)過(guò)程中他的過(guò)往也依舊在糾纏著他…… 金剛將不得不面對(duì)自己最不愿意正視的傷痛……
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.