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科學(xué)怪人的怪獸 山達(dá)對(duì)蓋拉
ラス?タンブリン,睦五郎,佐原健二,水野久美村民總動(dòng)員
阿圖爾·巴奇斯,Angelika Cegielska-Swiatek,菲利普·古拉克斯,Mateusz Janicki,Piotr Pregowski,Anna Seniuk,安娜·希曼奇克,喬安娜·特茲佩西絲卡,Cezary Zak,維克多·茲波羅夫斯基大明嬪妃之困斗
宋洋,何杜娟,朱一龍,陳一諾次世代機(jī)動(dòng)警察：首都決戰(zhàn)
真野惠里菜,福士誠治,筧利夫,太田莉菜,千葉繁我的老婆是明星
周柏豪 ,劉心悠,林德信,蔡潔,蔣志光,李尚正,郭偉亮,葉佩雯,朱薰,李日朗,杜德偉,連詩雅,盧海鵬,林盛斌,邵美琪,車婉婉,莊鍶敏,田啟文,趙碩之,古天祥,符曉薇,黃文慧,余慕蓮,王曉君,李潤庭,可宜獨(dú)自赴死
凱瑞-安·莫斯,道格拉斯·史密斯,弗蘭克·格里羅同類推薦
角頭：斗陣欸
高捷,蔡振南,太保,喜翔,龍?zhí)煜?王識(shí)賢,夏靖庭,孫鵬,黃騰浩,張懷秋,黃尚禾,鄭人碩,張?jiān)倥d,唐振剛,吳震亞,黃冠智,林真亦,陳萬號(hào),白吉?jiǎng)?李銘忠,崔浩然,黃鐙輝,吳念軒,是元介,瑞瑪·席丹,王陽明,陸明君,曾珮瑜,荒山亮,林道禹,隆宸翰,邱永騰,游安順,伊正,王自強(qiáng),孫國豪,草爺因父親挑起新舊敵對(duì)幫派的激烈地盤斗爭(zhēng)，身為兒子的他則試圖掌控腥風(fēng)血雨的臺(tái)灣黑社會(huì)，在兄弟情與自身處境的夾縫中被迫前進(jìn)。外部敵對(duì)勢(shì)力步步進(jìn)逼，內(nèi)部也因誤會(huì)與壓力而開始產(chǎn)生裂縫，使得情義不再是理所當(dāng)然的依靠……
新萬圣節(jié)
馬爾科姆·麥克道威爾,布拉德·道里夫,威廉·弗西斯,雪莉·穆恩·贊比1963年，在位于美國的伊利諾斯州的霍登平原市。陰暗恐怖的夜色籠罩著這座死寂的小城市，一起奇異的慘案就在黑暗當(dāng)中發(fā)生了：梅爾斯家里只有六歲大小的邁克爾·梅爾斯（達(dá)格·法奇飾），殘忍的用棒球棒將母親的男朋友一棍一棍的錘成了肉泥，然后又將自己的姐姐以及姐姐的男朋友一同肢解得支離破碎、慘不忍睹…… 事實(shí)上，這個(gè)特別的小男孩兒在一生來似乎從面孔到內(nèi)心就充滿了深深的邪惡與仇恨。而令所有人萬萬沒有想到的是男孩剛剛長到他6歲這一年便瘋狂般地露出了他猙獰的惡魔臉孔。而每一年象征著“群魔亂舞”的萬圣節(jié)似乎也成了他活躍異常的時(shí)刻。 根據(jù)美國當(dāng)?shù)氐姆?，未成年人殺人并不?huì)受到警方更嚴(yán)厲的制裁，最終裁定將這個(gè)心靈扭曲的少年送到了精神療養(yǎng)所進(jìn)行看管。在那里，一個(gè)名叫薩米爾·魯米斯的醫(yī)生負(fù)責(zé)調(diào)教和看管惡魔男孩兒。從未見識(shí)過如此兇殘的兒童的魯米斯想盡一切辦法接近這個(gè)可怕少年的心靈，試圖去影響、改變他的一切。但醫(yī)生做的所有嘗試都最終以失敗而告終。邁克爾·梅爾斯是一個(gè)極其頑固的邪惡的載體，他沒有理智、毫無人性可言，有的只是日益強(qiáng)悍的身體和越來越強(qiáng)烈的暴虐和不斷增長的殺戮欲望——薩米爾·魯米斯最后也意識(shí)到了這點(diǎn)，但似乎所有這一切都已經(jīng)為時(shí)太晚了?！ ≡诒魂P(guān)押了漫長的十七年之后，已經(jīng)“長大成人”的邁克爾·梅爾斯憑借強(qiáng)壯的身體終于找到機(jī)會(huì)逃出了逼仄的牢籠。壓抑已久的仇復(fù)與殺戮的惡魔之心終于得到了釋放的機(jī)會(huì)，他迫不及待的回到霍登平原市，去尋找他唯一真正愛護(hù)過的妹妹勞瑞?！ ∵@一切的真相，只有薩米爾·魯米斯知道，老醫(yī)生深知他的目的所在；也只有薩米爾·魯米斯知道，任何不幸遭遇惡魔邁克爾·梅爾斯的人都將以最慘痛的方式付出自己的生命做代價(jià)。如今，留給他的時(shí)間已經(jīng)不多，他要竭盡全力去警告無知的人們，并保護(hù)這家人唯一的希望——?jiǎng)谌?。與此同時(shí)，為了所有其他人的無辜性命，魯米斯還要拼盡全力找到并控制住瘋狂的邁克爾·梅爾斯。尤其是每當(dāng)月黑風(fēng)高的萬圣節(jié)之夜悄悄降臨時(shí)……
鏡中人
英迪婭·埃斯利,詹森·艾薩克,佩內(nèi)洛普·米契爾,米拉·索維諾,哈里森·吉爾伯特森,克里斯汀·哈里斯,亞當(dāng)·哈蒂格,康納·彼得森,辛蒂·邁斯科十八歲女孩瑪麗亞（英迪婭·埃斯利 飾）經(jīng)常受到同學(xué)欺負(fù)，使她變得自卑，害怕。有一天她發(fā)現(xiàn)鏡子里的另一個(gè)她，艾蘭?！ “m（英迪婭·埃斯利 飾）既勇敢又無畏，幫助瑪麗亞開啟了復(fù)仇之路......
警察與外星人
路易·德·菲奈斯,米歇爾·加拉布呂,莫里斯里什,朗貝爾·維爾森圣·特魯佩斯城來了一些外星人。他們進(jìn)而化裝成平民。時(shí)而冒充警察了解人類的生活。當(dāng)?shù)鼐熵?fù)責(zé)搜捕。但外星人變化無窮，神秘莫測(cè)，層出不窮的誤會(huì)和笑話把警察們搞得狼狽不堪。在一次交鋒中，警察意外發(fā)現(xiàn)外星人怕水，于是，巧使計(jì)謀，使用水攻……
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.