浪女47 ：桃色忠臣藏
藏子（空?；?飾）和玲子（水谷葵 飾）以及美樹（藍(lán)色梨梨花 飾），三人不但是高中時代舞蹈社團的前後輩，同時也一起在淺野經(jīng)營的播州赤穗物產(chǎn)公司上班。而在公司負(fù)責(zé)清潔工作的葉子，也是三人的學(xué)姊。她們四人到現(xiàn)在還跟學(xué)生時期一樣，沒放棄對舞蹈的熱愛持續(xù)跳舞。某日，吉良綜合商社的社長吉良突然帶著女保鑣上門，吉良是淺野的大客戶，如果少了吉良公司甚至?xí)媾R倒閉的危機，因此淺野總是在吉良的面前抬不起頭來。吉良將玲子叫到房間去，要求她擔(dān)任自己的祕書，還企圖對她上下其手……這四名女子要如何解決公司所面臨的危機呢？
即刻觀影
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異形怪胎 2
Michele Greene,Robin Curtis,Scott Valentine一個邪惡的生育實驗創(chuàng)造了一代扭曲的孩子。 一個無情的女人在破壞這些突變的嬰兒之前已經(jīng)做好了這件事，摧毀了這個世界！ 一個母親和她唯一的朋友在愛之間被撕毀了這個變形的人的排斥，并準(zhǔn)備為了生存而戰(zhàn)，但這個寶寶不需要愛。 它被編程為不惜一切代價生存。
八月2025
丹尼爾·沃羅比耶夫,謝爾蓋·別茲魯科夫,Mikhail Gavrilov,Eldar Kalimulin,尼基塔·科洛格利維,羅曼·邁迪安諾夫,奧爾佳·奧佐拉平亞The history of the military operation "Bagration", which took place in August 1944.
中華戰(zhàn)士
楊紫瓊,吳耀漢,爾冬升,盧冠廷,劉芊蒂,松井哲也,陳敬,張耀星,趙志凌,馮克安,黃正利,谷峰,劉晃世,羅莽,譚偉民影片以悲壯的筆觸，描述了30年代時期，不丹國卡爾城金將軍與日軍勾結(jié)，在城里生產(chǎn)毒氣，中國派遣特務(wù)“天字第一號”和現(xiàn)代鏢局負(fù)責(zé)接出城主尤達(dá)。女鏢師阿瓊在愛慕尤達(dá)的金將軍女兒芊芊幫助下，意欲和尤達(dá)一起逃走，但“天字第一號”力主要破壞毒氣計劃，結(jié)果被抓。金將軍為救愛女，反過來幫助他們，與日軍開始一場大戰(zhàn)。
飆風(fēng)戰(zhàn)警
威爾·史密斯,凱文·克萊恩,肯尼思·布拉納,薩爾瑪·海耶克,M·埃梅特·沃爾什,泰德·拉文,弗雷德里克·范·德·瓦爾,穆賽塔·萬德,Sofia Eng,白靈,嘉絲莉·畢薇斯,Mike H. McGaughy,羅德尼·格蘭特,巴克·泰勒,Dean Rader-Duval ,克里斯蒂安·奧伯特,Orestes Matacena,伊安·艾伯克龍比,伊斯梅爾·伊斯特·卡爾羅,鮑勃·洪諾,Kris Andersson,菲爾霍恩,斯科特·希斯洛普,貝尼·利威,德里克·梅耶斯,Tiger Mendez,Ty O&一位是作風(fēng)矯健、機智幽默的聯(lián)邦特工威斯特（威爾·史密斯 Will Smith 飾），一位是愛耍聰明的易容大師高登（凱文·克萊恩 Kevin Kline 飾），這兩個看似一山不容二虎的狠角色卻被總統(tǒng)同時召見了，原因是授命他們一同追捕一名神秘毒辣的科學(xué)家連環(huán)殺手。威斯特和高登只好在摩擦碰撞中培養(yǎng)默契，竟然很快成為一對絕配拍檔。經(jīng)過調(diào)查，兩人發(fā)現(xiàn)原來幕后黑手竟然是曾經(jīng)的天才博士勒弗里斯（肯尼思·布拉納 Kenneth Branagh 飾），他因在一次實驗中失去雙腿，只好永久呆在輪椅上，然而殘缺的個性與對社會的怨恨讓他開始到處作亂，甚至發(fā)明了一架巨型的蜘蛛機器濫殺無辜，并企圖謀殺總統(tǒng)，統(tǒng)治美國。危機迫在眉睫，威斯特和高登分頭來到新奧爾良，駕駛著一列布滿機關(guān)的火車迎戰(zhàn)蜘蛛博士，一場古怪武器間的斗智斗勇已悄然展開……
楊非與高俐
劉道玄,彭必瑤,潘國棟,劉占奎,陳緯,高果高俐醉酒被強哥等人綁架索贖金一億，楊非因父需百萬手術(shù)費趕路時車被同一伙劫匪搶走。二人相遇后，楊非助高俐斗綁匪，發(fā)現(xiàn)高俐與曾因治妻病抵押房產(chǎn)、借高利貸卻致家庭破裂的父親有矛盾。最終高俐獲救，與父和解，楊非湊齊手術(shù)費，二人相戀。
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.