美麗的高中女孩露比·羅西（艾米莉亞·瓊斯 Emilia Jones 飾）出生于一個極不尋常的漁民家庭，她的父母和哥哥天生聾啞，只能通過手語交流。而健康無恙的露比既是幸運的，卻也是不幸的。她擔(dān)任了家人和外界交流溝通的橋梁，為此承受了諸多的歧視和嘲笑。這期間，只有好閨蜜戈蒂（艾米·福賽思 Amy Forsyth 飾）是她最堅定的支撐。因為喜歡男孩邁爾斯（福迪亞·瓦爾什-匹羅 Ferdia Walsh-Peelo 飾），露比報名參加校合唱團，而天資穎悟的很快得到了負(fù)責(zé)老師的賞識。在此之后，露比頻繁奔波于合唱團和家族之間，她渴望前往伯克利追求音樂夢想，而這勢必要和對她無比依賴的原生家庭分隔兩地。露比為此深深焦慮……本片根據(jù)真實事件改編。

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米洛斯·比柯維奇,帕維爾·杰列維揚科,阿格拉婭·塔拉索娃,奧爾加·迪布采娃,瑪麗亞·米羅諾娃,伊萬·阿赫洛貝斯金,亞歷山大·斯莫勒克,索菲婭·扎伊卡,基里爾·納吉耶夫,Dmitry Belyakin,Olivier Siou,Andrey Malakhov,娜塔莉亞·羅戈日金娜,彼得·布斯洛夫,Viki Odintcova,Sergey Shestepyorov,Sergey Rozhnov,埃利扎維塔·洛托娃,Kseniya Stoyakova,Sergey Gabrielyan

　　格里沙，這個曾經(jīng)被寵壞的孩子，原本是一個農(nóng)奴。但在經(jīng)歷了一次追溯“過去”的旅程后，他蛻變成了一個真正的男人，對任何形式的不公正都極為敏感。然而，他始終無法擺脫被寵壞的卡蒂婭所帶來的無禮和無法無天。也難怪，這個曾經(jīng)被寵壞的女孩很快就發(fā)現(xiàn)自己置身于一個截然不同的時代。

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,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，他們決定滅掉這個不知好歹的小子。在危險之中，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。

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.

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