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靈異醫(yī)院
Sara Foster,Cary Elwes,Michael Biehn,Gabriel Mann,Colleen Camp,Winter Ave Zoli,Susie Amy,Katherine Shanklin影片《靈異醫(yī)院》講述的是一個(gè)有著不堪過(guò)去的女人在一家新近倒閉關(guān)門的醫(yī)院找到了一份核對(duì)病人簡(jiǎn)歷復(fù)印件的工作，而孤獨(dú)一人在隔絕的醫(yī)院值夜班的過(guò)程中她經(jīng)歷了一些神秘事件。有所警覺的她通過(guò)這些事件發(fā)現(xiàn)醫(yī)院可能和近日出現(xiàn)的謀殺案有關(guān)，而要破解這些謎團(tuán)，首先她需要仔細(xì)梳理一下自己混亂的過(guò)去。
陰陽(yáng)師0
山崎賢人,染谷將太,奈緒,安藤政信,村上虹郎,板垣李光人,國(guó)村隼,北村一輝,小林薰講述安倍晴明學(xué)生時(shí)代的故事。在陰陽(yáng)寮，被譽(yù)為天才的安倍晴明與其他學(xué)生截然不同，他是個(gè)有些討人厭且對(duì)成為陰陽(yáng)師毫無(wú)興趣的怪人?！ ∮幸惶?，晴明受到貴族源博雅的委托，解決襲擊皇族徽子女王的怪異現(xiàn)象。盡管兩人經(jīng)常發(fā)生沖突，但他們還是一起追尋真相。而一名學(xué)生的離奇死亡成為事件火索火索，引發(fā)了卷入平安京的邪惡陰謀和詛咒的動(dòng)亂。
跨國(guó)銀行
克里夫·歐文,娜奧米·沃茨,阿明·繆勒-斯塔爾,烏爾里奇·湯姆森,布萊恩·F·奧博恩規(guī)模龐大幾乎盤踞全球的跨國(guó)銀行IBBC在這個(gè)錢權(quán)主宰的社會(huì)里簡(jiǎn)直無(wú)所不能，它不僅操控著各國(guó)經(jīng)濟(jì)，牽制著政府的決策，甚至參與洗錢、販賣軍火、勒索綁架等各種黑道行動(dòng)，它就像一只大章魚將觸角伸向黑夜的每個(gè)角落。國(guó)際刑警路易斯·塞林格（克里夫·歐文 Clive Owen 飾）目睹同事因企圖泄露銀行機(jī)密而遭遇暗殺，他決意受命前往柏林徹查IBBC洗錢內(nèi)幕，得益于另一位正義者副檢察官埃莉諾·惠特曼（娜奧米·沃茨 Naomi Watts 飾）的同行協(xié)助，兩人很快發(fā)現(xiàn)了跨國(guó)銀行更多鮮為人知的非法活動(dòng)，甚至包括資助恐怖分子和發(fā)動(dòng)戰(zhàn)爭(zhēng)。兩人決心揭露跨國(guó)銀行的真實(shí)面目，然而，無(wú)所不知的IBBC早已注意到這兩只螻蟻，殺手隨即派到，路易斯和埃莉諾最終能否贏得這場(chǎng)螳臂當(dāng)車的生死周璇？
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.
暴風(fēng)雨之星
Vladimir Yemelyanov,Georgi Zhzhyonov,Gennadi VernovUpon arrival to Venus, cosmonauts find furious volcanoes and sundry prehistoric beasts in Klushantev's film, based on a novel by the Soviet sci-fi writer Aleksandr Kazantsev. Footage has been recycled in three Corman productions: Voyage to the Prehistoric Planet, Queen of Blood, and Voyage to the Planet of Prehistoric Women (the directorial debut of Peter Bogdanovich). 83min
首都消失
渡瀨恒彥,名取裕子,山下真司,江角英明,大瀧秀治,石橋蓮司,石野陽(yáng)子,加藤治子,岸部一德,三木紀(jì)平,夏八木勛,龍雷太,相馬剛?cè)?丹波哲郎,津村鷹志,渡邊文雄,財(cái)津一郎,海老名美どり這部災(zāi)難影片背景以現(xiàn)代日本為中心，主要描寫東京突然被一股莫名的濃霧所籠罩，整個(gè)都會(huì)好像一下子消失了似的，各地政府及科研人員因此極為震驚，急忙組織起來(lái)研究對(duì)策。但是人們卻無(wú)法穿越濃霧進(jìn)入東京首都圈。這場(chǎng)濃霧形成了一個(gè)無(wú)法穿越的電磁屏障。而圈外的科學(xué)家們則在受損嚴(yán)重的軍用偵察機(jī)上得到靈感，利用即將到來(lái)的臺(tái)風(fēng)和雷暴雨，加上人工大功率電磁干擾機(jī)，終于化解了這場(chǎng)戲劇般的非自然危機(jī)?！ ∵@原本該是一個(gè)不錯(cuò)的富有戲劇張力的構(gòu)思，但拍出來(lái)的片子卻教人不敢叫好，劇中女記者的角色刻劃不具感染力，而她和男記者之間時(shí)好時(shí)壞的關(guān)系描寫也讓人感覺莫名其妙，確是讓觀眾感覺象一場(chǎng)霧。