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貓小姐莫西
芭芭拉·薩拉菲安,Sarah Bannier,彼特·恩布雷希茨莫西小姐和她的貓朋友們看不起每個(gè)“與眾不同”的人。有一天，她和她心愛的人類Joosje（8歲）和她的父母去了法國。女房東Rita非常想和她的狗Tuur一起贏得《動物達(dá)人秀》。她看到音樂劇《莫西小姐》，當(dāng)家人需要回家時(shí)，她綁架了她。莫茜小姐逃跑了。在路上，她遇到了兩個(gè)不太可能的旅行伙伴：Ayo，一只老燕子和Tuur。在他們的共同冒險(xiǎn)中，莫西小姐意識到她的舊觀點(diǎn)是錯(cuò)誤的，她理解真正的友誼意味著什么。
小林家的龍丫頭：怕寂寞的龍
長繩麻理亞,田村睦心,桑原由氣,高田憂希,高橋未奈美,杉浦栞 ,小野大輔,中村悠一,加藤英美里,石原夏織小林一家將迎來前所未有的挑戰(zhàn)，異世界兩大陣營戰(zhàn)火一觸即發(fā)，康娜父親奇姆恩卡姆依決定帶康娜歸返異世界?！霸僖娏?，小林……”康娜將如何選擇？
埃迪森
LL Cool J,賈斯汀·汀布萊克,摩根·弗里曼,凱文·史派西,迪倫·麥克德莫特,約翰·赫德,加利·艾爾維斯,羅塞莉·桑切斯,達(dá)米恩·丹特·韋恩斯,馬爾科·桑切斯,關(guān)永揚(yáng),安德魯·杰克森,派珀·佩拉博,布賴恩·詹尼斯,葉芳華,羅伯特·米亞諾,BJ·哈里森,雷克哈·莎爾瑪,彼特·科拉米斯,Klodyne Rodney,格倫·恩尼斯,克里斯·高瑟,塞奇·布洛克班克,瑞秋·斯派克特,吉姆·拜恩尼斯,布瑞恩·德拉蒙德,瓦妮莎·托馬西諾,大衛(wèi)·帕拉菲,阿麗克西斯·盧埃林,Holly Eglington,卡佳范瑞西故事發(fā)生在一個(gè)虛構(gòu)的城市——埃迪森市中，在那里，執(zhí)政者和執(zhí)法者相互勾結(jié)，黑惡勢力層出不窮，金錢和權(quán)利的交易每天都在發(fā)生，這些黑暗和腐敗猶如一只巨大而厚重的手掌，控制了整個(gè)城市和生活在其中的人們。波拉克（賈斯汀·丁伯萊克 Justin Timberlake 飾）是一名尚且保留了赤子之心的記者，精明的他很快就察覺到了發(fā)生在這個(gè)城市中的種種罪惡，心懷遠(yuǎn)大理想的他決定將它們一一揭發(fā)?！ 〔ɡ说呐e動很快就惹惱了他正在調(diào)查的對象們，他們決定滅掉這個(gè)不知好歹的小子。在危險(xiǎn)之中，波拉克只得求助于自己的老板艾斯佛（摩根·弗里曼 Morgan Freeman 飾）——一個(gè)良心尚存的老記者，在艾斯佛和其好友華勒斯檢察官（凱文·史派西 Kevin Spacey 飾）的幫助下，波拉克正在一步一步的接近真相。
人工情報(bào)
趙寅成,樸正民,樸解浚,申世景韓國國情院特工趙科長，奉命追查跨國犯罪集團(tuán)，循著犧牲情報(bào)員的線索前往俄羅斯符拉迪沃斯托克，意外與朝鮮特工樸健狹路相逢。兩人圍繞核心情報(bào)源蔡善花展開博弈，卻同時(shí)被各自國家拋棄，被迫在忠誠、背叛與生死之間，聯(lián)手揭開邊境諜戰(zhàn)的驚天黑幕。
浴血黑幫：不朽傳奇
基里安·墨菲,麗貝卡·弗格森,蒂姆·羅斯,蘇菲·蘭朵,奈德·丹內(nèi)利,派克·李,伊恩·佩克,杰伊·利庫戈,巴里·基奧恩,斯蒂芬·格拉漢姆,薩米·喬納斯·希尼,魯比·阿什伯恩·瑟金斯,山姆·貝克-瓊斯,卡斯珀·希爾頓-希勒,馬丁·安格鮑爾,馬克·威爾金森,托馬斯·阿諾德,安迪·M·米利根,羅利·威爾遜,馬克斯·凱文漢姆1940年的伯明翰，在第二次世界大戰(zhàn)的混亂中，湯米·謝爾比（基里安·墨菲 飾）從自我放逐中回歸，直面著迄今為止最具破壞性的清算。家族和國家的未來岌岌可危，湯米必須面對自己心中的惡魔，并選擇是直面它還是將其毀滅。
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.