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邪惡之屋
喬賽琳·唐娜休,湯姆·諾南,瑪麗·沃倫諾夫,格蕾塔·葛韋格,AJ·鮑恩,迪·沃倫斯,希瑟·羅博,莉娜·鄧納姆,格雷厄姆·瑞斯尼克,緹·威斯特正義聯(lián)盟：無限地球危機(jī)(下)
凱緹·薩克霍夫,迪恩·文特斯,馬克·哈米爾,寇瑞·斯托爾,雅士利·伯奇,布萊恩·布魯姆,布雷特·道頓,凱文·康瑞,杰森·斯皮薩克,艾爾西亞·羅塔魯,辛希亞·卡耶·麥克威廉姆斯,爾瑪·泰勒麥哲倫
蓋爾·加西亞·貝納爾,達(dá)里奧·亞斯貝克·貝納爾,拉斐爾·莫雷斯,托馬斯·阿爾韋斯,保羅·卡拉特雷,羅尼·拉扎羅,Rafa Siguion-Reyna,Ivo Arroja,麥克斯·格羅斯·馬延奇,Roger Alan Koza,奉·卡布雷拉,Hazel Orencio,Daniel Palisa,瓦爾德馬爾·桑托斯,?ngela Ramos,Yvanne Evangelista,Rubén Carballés,Elisabete Pedreira,Sasa Cabalquinto,Amado Arjay喜羊羊與灰太狼之羊年喜羊羊
祖晴,張琳,楊陽洋,高全勝,梁穎,鄧玉婷,劉紅韻,趙娜草莓月亮
當(dāng)真亞美,齋藤潤,杉野遙亮,中條彩未,中山裕介,田中麗奈,池端杏慈,黑崎煌代,吉澤要人,伊藤健太郎,泉澤祐希,池津祥子,橋本潤,黑島結(jié)菜這就是我2026
望月春希,齋藤工同類推薦
追遠(yuǎn)尋根
Clare Monnelly,布里·尼·內(nèi)奇廷,亞歷山德拉·比斯特日茨卡婭,Clare Barrett,夏洛特·布拉德利,塔拉·布雷思納克,格蕾絲·科倫德,Peadar Cox,Jim Cunningham,多蘿西·達(dá)菲,Marcus Lamb,邁克爾·奧·萊恩,Oisín ó Maoileoin,Liv O'Donoghue,奧爾加·韋爾利被譽(yù)為“史上第一部愛爾蘭語恐怖片”，《弗雷瓦卡》圍繞一位名叫休的護(hù)理工作者展開，她被個人悲劇所困擾。休被派往一個偏遠(yuǎn)村莊照顧一位患有廣場恐懼癥的女性，她既害怕鄰居，也害怕納希德——她相信幾十年前被這些神秘民間實(shí)體綁架。隨著兩人建立起深厚的聯(lián)系，休逐漸被這位老婦人的偏執(zhí)、儀式和迷信所吞噬，最終面對她自己的過去所帶來的恐怖。
上身
田牧童,劉述,郭星顯,黃伊伊,周炎同居男友許一恒遭遇事業(yè)難關(guān)，此時女友成心不但發(fā)現(xiàn)自己懷了孕，還獲知許一恒跟閨蜜馬可好上了，而馬可家境殷實(shí)，能夠幫助他渡過絕境。成心因?yàn)樯類郏x擇成全，離開許一恒，并做了人流手術(shù)，不料這胎兒竟成了“嬰靈”點(diǎn)點(diǎn)。后來點(diǎn)點(diǎn)決定“帶走”成心，慧化大師用佛法感化點(diǎn)點(diǎn)，并將其“交給了佛”。不久成心再受邪祟之?dāng)_，點(diǎn)點(diǎn)冒險(xiǎn)回來搭救，也還原了真相……借此告誡切莫輕易墮胎，佛門有曰“五逆重罪”，墮胎必是冤孽。
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.
柔情摯我
薇姬·克里普斯,莫妮亞·喬柯里,維果·費(fèi)雷拉-雷迪爾,安托萬·賴納茨,費(fèi)奧多爾·阿特金,樸智敏,Manuel Vallade,奧拉利亞·佩蒂特,薩利夫·西塞,朱利安·德·圣·讓,瑪洛·赫比齊,安娜·西加勒維奇,Tallulah Cassavetti,安東尼·米切爾,烏姆尼亞·哈納德她離開丈夫與兒子，也離開穩(wěn)定的律師工作，在泳池、露天咖啡廳與私人公寓自在游走。以寫作寄托生活，對兒子的愛未減半分，與丈夫也親如摯友，直到那日，她向丈夫吐露與女性的親密關(guān)系，完美生活旋即化為一場幻夢。在失去監(jiān)護(hù)權(quán)后，她不得不在機(jī)構(gòu)間穿梭，為了見兒子一面奮力一搏，卻不知這樣的困境，何時能走到盡頭？
尋愛之旅
麥克·辛,馬克·阿蒂,吉姆·卡特,馬克·斯特朗熱愛射飛鏢的柯林看店為業(yè)，為了贏回紅杏出牆的妻子芳心，他跳脫常軌，離開熟悉的故鄉(xiāng)，橫越全國。當(dāng)他經(jīng)過美麗的高山地區(qū)，來到碎石嶙嶙的黑池時，連著遇到一些人和事，改變了他的新生活。是一部好笑又非常人性的影片。