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正義聯(lián)盟：無限地球危機（中）
詹森·阿克斯,斯坦娜·卡蒂克,吉米·辛普森,吉第安·艾朵,盧·戴蒙德·菲利普斯,詹妮弗·黑爾,特洛伊·貝克,阿爾迪斯·霍吉,威爾·弗里德爾,梅格·唐納利,岑勇康,馬特·蘭特爾,達(dá)倫·克里斯,連姆·麥肯泰爾,艾托·艾桑多,吉奧弗瑞·阿倫德,杰米·格雷·海德,凱沙·夏普,馬特·瑞安,喬納森·亞當(dāng)斯PG-13 An endless army of shadow demons bent on the destruction of all reality swarms over our world and all parallel Earths. The only thing opposing them is the mightiest team of metahumans ever assembled. But not even the combined power of Superman, Batman, Wonder Woman, Green Lantern and all their fellow superheroes can slow down the onslaught of this invincible horde. What mysterious force is driving them? And how do the long-buried secrets of the Monitor and Supergirl threaten to crush our last defense?
學(xué)前班
喬什·杜哈明,查麗蒂·維克菲爾德,詹姆斯·科茲莫,安東尼婭·托馬斯,邁克爾·索恰,費奈拉·伍爾加兩位堅定的父親展開一場滑稽的爭奪，爭奪讓孩子進(jìn)入一所精英幼兒園，最終升級為一場荒誕的競爭，結(jié)果出乎意料。
地下室居民
瑪利亞·埃沃利,Vanesa Restrepo,卡拉·雅道爾一晚，三位姊妹潛入一位參議員的家，欲偷走他透過賄賂得來的錢。進(jìn)行到一半時，她們聽見地下室傳來奇怪的聲音，決定前往調(diào)查。她們發(fā)現(xiàn)一位看似受到殘忍虐待的女孩被綁在床上?！ ∵@個半身不遂的女孩請求她們救她，她們也決定幫她。但她們不知道的是，這個女孩並不是受到虐待，而是被一個強大的黑暗力量附身，它將打開另一個世界的大門。
4度空間大師
羅伯特·蘭辛,李·麥瑞威瑟,James Congdon一位科學(xué)家在一次試驗中，發(fā)現(xiàn)用腦波可以使一只鉛筆穿透銅板，不過，他的實驗室在一次大火中毀滅，這位科學(xué)家不得不投靠他的哥哥。他的哥哥也在進(jìn)行著另一項實驗，他發(fā)現(xiàn)重新組合原子結(jié)構(gòu)可以產(chǎn)生巨大能量。他與弟弟合作，利用弟弟的腦波和實驗心得，改變?nèi)魏挝镔|(zhì)結(jié)構(gòu)，形成“四度空間人”。 不過，“四度空間人”使用一次均會失去時間而老化，必須不斷增加能源，而每次吸取能量，就會將老化轉(zhuǎn)移他人，于是他不斷殺人以維持青春。究竟四度空間人會不會最終被消滅，請觀眾自己品味?！ ”酒瑯?gòu)思新穎，運用高科技手段拍攝，是觀眾有身臨高科技時代的感覺，當(dāng)然，這指的是身在影片所屬的年代！
最后一槍2025
Lham Somphol Rungphanit,薩里卡·塞思蘇帕,帕塔納·埃桑固Petch想擺脫殺手生涯，但逃離過去談何容易？在愛情、忠誠與復(fù)仇之間掙扎，他被迫接下最后一單。每一槍響起，賭注都在升級。他的未來與自由，全系于最后一顆子彈。 “終極任務(wù)，致命一槍，無路可退?！?/p>
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·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.