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太空異種2026
魏璐,林妍柔,柳揚(yáng),王銘,安澤豪,王勉,鄒瑋祺,孫競(jìng)爭(zhēng),朱智煌,劉靜怡未來世界，在一艘名為“蒼穹號(hào)”的飛船上，船長(zhǎng)梁承天帶領(lǐng)著船員們經(jīng)常在星際之間從事采集礦物質(zhì)的買賣，以此來獲得巨大的經(jīng)濟(jì)利益。雖然他們?cè)诙啻尾杉^程中偶爾會(huì)遇到危險(xiǎn)，但最終也都能安全返航。 直到這次，梁承天帶著船員們?cè)阢y河系中，意外找到一顆六千萬年前爆炸的超新星，他們?cè)诟浇杉搅讼∮械牡V物質(zhì)，從而能獲得巨額利益?？梢蚶娣峙洳痪?，各懷心事的船員們就此踏上返航之旅。 在返航途中“蒼穹號(hào)”意外接到了一組未知的求救訊號(hào)。他們成功救下了“創(chuàng)世紀(jì)號(hào)”的生物學(xué)家林修遠(yuǎn)和他的妻子Angel，而梁承天在救援的過程中也意外受傷。
爆旋陀螺電影版：激戰(zhàn)！小龍VS大地
熊井統(tǒng)子,永澤菜教,竹內(nèi)實(shí)生,高乃麗,折笠愛,久川綾,桑島法子,菊地志穂,橫山智佐,手塚ちはる,橘U子お父さん世代が子どもの頃に熱中した遊び＜ベーゴマ＞がより複雑に進(jìn)化し、エンタテインメント性とバトル性をアップさせた新世代ベーゴマ＜ベイブレード＞をフィーチャーした人気ＴＶアニメ「爆転シュート ベイブレード」の劇場(chǎng)版。ベイブレード日本一に輝いたタカオの前に新たなチャレンジャーが出現(xiàn)、壯絶なバトルが展開する。ベイブレード日本選手権大會(huì)に參加したタカオとドラグーンは仲間たちの聲援を受け、激闘の末見事日本一に輝いた。しかし、喜びの表彰式の最中に新たなチャレンジャーが現(xiàn)われタカオに挑戦を申し込む。チャレンジャーの名は皇大地（すめらぎだいち）。彼は“ガイアドラグーン”を手に日本一の座を賭けタカオに挑む。ドラグーンｖｓガイアドラグーン。２つのベイがスタジアムで激しく火花を散らし、ぶつかり合う。だが、その戦いが、遠(yuǎn)い昔に封印された闇の力を古代遺跡から呼び覚す引き金となってしまう。平和な街に悪夢(mèng)の力が襲い掛かる……。
榮歸1978
簡(jiǎn)·方達(dá),喬恩·沃伊特,布魯斯·鄧恩,佩內(nèi)洛普·米爾福,羅伯特·卡拉丁,羅伯特·金蒂,凱瑟琳·米勒戰(zhàn)爭(zhēng)結(jié)束了，但留下的悲劇從來都不會(huì)就此斷絕。在位于美國(guó)加州的一家傷兵醫(yī)院里，盧克（強(qiáng)·沃特 Jon Voight 飾）痛苦的躺在病床上。戰(zhàn)爭(zhēng)徹底的奪走了他剩余人生里的幸福和自由，半身不遂的他注定再也享受不到生為一個(gè)正常人的快樂了。因?yàn)榉N種，盧克每天都生活在抑郁和憤怒之中。莎莉（簡(jiǎn)·方達(dá) Jane Fonda 飾）的丈夫鮑勃（布魯斯·鄧恩 Bruce Dern 飾）是一名軍官。身為軍官之妻，莎莉有義務(wù)對(duì)在戰(zhàn)爭(zhēng)中遭難的軍人們進(jìn)行安撫。就這樣，莎莉邂逅了盧克，并且在時(shí)間的推移之中深深的愛上了他。為了給予盧克繼續(xù)活下去的希望，她不惜用自己的身體去引誘盧克。
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.
調(diào)味的房子
西恩·帕特維,安娜·沃爾頓,羅?！ご?凱文 霍華斯,杰瑪·鮑威爾,丹尼爾·維維安,阿德里安·布薛特,Christopher Rithin,肖恩·克羅寧20世紀(jì)末，波黑戰(zhàn)火籠罩的巴爾干地區(qū)。聾啞少女安吉爾（羅茜·戴伊 Rosie Day 飾）目睹了親人鄰居被武裝分子殘忍殺害的一幕，在此之后她也失去自由，與數(shù)名同齡女孩被擄至暴徒維克托（凱文·霍華斯 Kevin Howarth 飾）所盤踞的地獄之所。女孩們被迫淪為性奴，飽受摧殘與折磨，生命卑微有如在暴風(fēng)雨中搖曳的燭火。身處無聲世界的安吉爾似乎得到上天微薄的憐惜，她每天的工作便是穿梭于各個(gè)房間，為女孩們擦拭血跡，注射藥物，緩解疼痛，小小年紀(jì)卻見識(shí)了人世間最殘酷的景象。慘無人道且防守嚴(yán)密的人間煉獄，安吉爾決定帶著姐妹們逃出生天。當(dāng)殺母仇人格倫突然來到此地，一切走向失控的邊緣…… 本片榮獲2013年葡萄牙國(guó)際奇幻電影節(jié)影評(píng)人選擇獎(jiǎng)。
索蕾：來自未來的妻子
希拉·達(dá)拉·艾莎,迪翁·維約科,David GojkovicSore從未來穿越回過去，只為改寫她丈夫Jonathan的命運(yùn)。但命運(yùn)從不輕易讓步——當(dāng)過去、現(xiàn)在與未來交織，她與Jonathan的愛情也陷入無法逃脫的時(shí)間迷宮。