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煎釀三寶
楊千嬅,劉青云,許冠文,李蘢怡,許紹雄裂口女2
飛鳥凜,川村雪繪,巖佐真悠子,真山明大,谷口賢志,草野康太,中野英雄,齋藤洋介,林未紀(jì)四人新世界
董驃,呂方,黃韻詩(shī),吳雪雯,秦沛,吳啟華,邵國(guó)華綾音的高踢腿
宮村優(yōu)子,川村萬(wàn)梨阿,西原久美子,大塚明夫,山口勝平風(fēng)云寶石Ⅰ：羅漢巖
甄鵬宇,鄧玉瑩,張潮豐我很在乎
裴淳華,彼特·丁拉基,艾莎·岡薩雷斯,黛安·韋斯特,克里斯·梅西納,小伊塞亞·維特洛克,梅肯·布萊爾,艾麗西亞·維特,達(dá)米安·楊,尼古拉斯·羅根,利茲·恩格,喬治亞·萊曼,克里斯·埃弗里特,何塞·岡斯·阿爾維斯,凱文·芬內(nèi)西,珍妮爾·費(fèi)格利,杰米·加扎里安,阿德里安·M·蒙波因特同類推薦
瘋狂侏羅紀(jì)
梅蘭尼·格里菲斯,簡(jiǎn)·林奇,威廉·鮑德溫在6500萬(wàn)年前的侏羅紀(jì)世界，三個(gè)長(zhǎng)相怪異的“恐龍寶寶”破殼而出，把霸王龍媽媽的生活攪得一團(tuán)糟。為救恐龍寶寶，恐龍媽媽落入陷阱被敵人圍攻。正在危機(jī)時(shí)刻，6500萬(wàn)年后的“援軍”帶領(lǐng)一只恐龍寶寶從天而降，與搶奪恐龍蛋的帝王鱷上演了一出霸道媽媽與恐 龍寶寶的爆笑合家歡大戲.......
幽靈鬼屋
勒凱斯·斯坦菲爾德,羅莎里奧·道森,歐文·威爾遜,蒂凡尼·哈迪斯,丹尼·德維托,杰米·李·柯蒂斯,蔡斯·W·狄龍,杰瑞德·萊托,J·R·阿杜西,克里克·威爾遜,本·布萊頓,林賽·蘭姆,查麗蒂·喬丹,費(fèi)多爾·斯蒂爾,特倫斯·羅斯摩爾,邁克·貝尼特斯,埃里卡·科爾曼,克里斯托弗·溫徹斯特,喬·科伊,格拉倫·布萊恩特·班克斯,瑪麗露·亨納爾,史蒂夫·齊西斯,安德魯·莫爾加多,尼科·戈麥斯,庫(kù)爾特·岳,哈?！っ鞴?丹·列維,埃里克·羅溫,塞巴斯蒂安·蘇戴斯,特蕾西·古德,卡姆蘭·謝赫,薇諾娜·瑞德,羅伯特·廷斯影片靈感來(lái)自迪士尼樂(lè)園同名游樂(lè)設(shè)施，“在一個(gè)讓人不寒而栗的鬼屋中進(jìn)行一趟令人毛骨悚然的旅行，有幽靈、食尸鬼和超自然力量帶來(lái)的驚嚇”，聚焦一個(gè)搬進(jìn)了這棟豪宅的家庭。
魔力，魔力
艾米莉·布朗寧,邁克爾·塞拉,朱諾·坦普爾,卡塔琳娜·桑地諾·莫雷諾,阿古斯丁·席爾瓦第一次出國(guó)的艾莉西亞從加州到了南美，并和表姐的朋友們一起，踏上了一段遠(yuǎn)離城市的旅程。然而表姐半途有事而返，留下她與三個(gè)陌生人。這三個(gè)陌生人中，一個(gè)是時(shí)不時(shí)做出奇怪舉動(dòng)，說(shuō)話不顧后果，甚至有虐 待傾向的同性戀，一個(gè)是郁郁寡歡，總是板著面孔，似乎對(duì)艾莉西亞做的任何事都不滿意的大姐，還有一個(gè)是表姐那個(gè)看起來(lái)雖然友善，卻癡迷于催眠術(shù)的男朋友。面對(duì)陌生的國(guó)度，奇怪的人，空蕩的房間，狂野的世界，艾莉西亞脆弱的神經(jīng)不斷受到挑戰(zhàn)。失眠、夢(mèng)魘、幻覺(jué)帶來(lái)了焦慮、驚恐、不安，艾莉西亞要怎樣走完這一段旅程，又是否能脫離險(xiǎn)境?
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.
彈道無(wú)痕
趙巖松,陳大偉,王玉璋,劉大偉,魏琦根據(jù)徐貴祥同名小說(shuō)改編。 鐵匠的兒子石平陽(yáng)帶著父親的囑托參軍來(lái)到炮兵部隊(duì)。他的一股沖勁，受到營(yíng)長(zhǎng)莊必川的喜愛(ài)，老班長(zhǎng)李四虎更喜歡石平陽(yáng)不服輸?shù)膭蓬^。李四虎是技術(shù)尖子，他對(duì)新戰(zhàn)士訓(xùn)練十分嚴(yán)格，新戰(zhàn)士進(jìn)步很快。他把石平陽(yáng)視作接班人，要在自己退伍之前把經(jīng)驗(yàn)全部傳授給石平陽(yáng)，甚至以故意裝病，讓石平陽(yáng)獨(dú)立完成訓(xùn)練課目。石平陽(yáng)進(jìn)步很快，年終還榮立了三等功。和他一起入伍的女兵張媚對(duì)他也另眼看待。教導(dǎo)隊(duì)招收骨干，進(jìn)教導(dǎo)隊(duì)就能報(bào)考軍校，成為軍官。營(yíng)長(zhǎng)擔(dān)心比武缺了石平陽(yáng)影響成績(jī)，因此改派與石平陽(yáng)一同入伍的王北風(fēng)去了教導(dǎo)隊(duì)。機(jī)會(huì)得而復(fù)失，石平陽(yáng)有些想不通。父親去世了，指導(dǎo)員讓他回家料理，但他走到半路，想起父親的囑托，毅然返回連隊(duì)。李四虎復(fù)員了，石平陽(yáng)接任班長(zhǎng)，他把老班長(zhǎng)的好傳統(tǒng)全部繼承下來(lái)，愛(ài)兵、愛(ài)炮、愛(ài)部隊(duì)，技術(shù)精益求精。同時(shí)入伍的王北風(fēng)和張媚進(jìn)了軍校，石平陽(yáng)仍然當(dāng)班長(zhǎng)。排長(zhǎng)調(diào)走了，石平陽(yáng)任代理排長(zhǎng)，這時(shí)，他入伍已有八年。團(tuán)里為了留住他，讓他準(zhǔn)備報(bào)考軍校。就在這時(shí)，新戰(zhàn)士劉發(fā)展一封雖事出有因但嚴(yán)重失實(shí)的告狀信，使他又失去了上軍校的機(jī)會(huì)。石平陽(yáng)要復(fù)員了，副團(tuán)長(zhǎng)莊必川舍不得他離開(kāi)，從車站把他接回，團(tuán)黨委特別決定把他留下。石平陽(yáng)又回到排里，他對(duì)劉發(fā)展更嚴(yán)格、更耐心訓(xùn)練和要求，使劉發(fā)展深感內(nèi)疚。幾年后，參謀王北風(fēng)到部隊(duì)檢查工作，見(jiàn)到石平陽(yáng)仍是上士，不免生出許多感觸。在集團(tuán)軍的軍事演習(xí)中，石平陽(yáng)指揮火炮群的準(zhǔn)確射擊，令首長(zhǎng)和指揮員們贊嘆不已。石平陽(yáng)多年操縱的火炮由新式火炮取代了，他雖有些戀戀不舍，但他立即和戰(zhàn)友們開(kāi)始學(xué)習(xí)掌握新的火炮，迎接新的挑戰(zhàn)。不久，石平陽(yáng)被破格提拔為中尉連長(zhǎng)。