愛情和香煙
橋梁建筑工人尼克;莫德（James Gandolfini 飾）人過中年，對現(xiàn)有一成不變且枯燥乏味的生活逐漸感到厭倦。性感奔放的紅發(fā)女郎圖拉（Kate Winslet 凱l溫斯萊特 飾）適時(shí)闖入尼克的世界，他的激情被重新點(diǎn)燃，并瘋狂迷戀上這個(gè)令人捉摸不定的尤物。 尼克的妻子凱蒂（Susan Sarandon 飾）是個(gè)堅(jiān)忍的賢妻良母，她靠剪裁衣服貼補(bǔ)家用，還要照顧丈夫和三個(gè)叛逆的女兒。尼克的出軌令凱蒂大為失望，隨之而來的爭吵更將他們的婚姻推向破裂的邊緣。 兜兜轉(zhuǎn)轉(zhuǎn)，走走停停，在露水姻緣消逝無蹤之際，尼克才幡然醒悟，懷念起家的溫暖 ;
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百燭游戲2
Magui Bravi,Nacho Francavilla,Josefina Fari?aA team of influencer bloggers decides to hold a ritual at the mansion of the "black countess". A fan of the supernatural, she disappeared without a trace after she was offered to play a game that was supposed to take her to another dimension. By evoking the spirit of the Countess, bloggers let otherworldly forces into the world. The one who can bring the demons back will survive.
大明嬪妃之登基
宋洋,何杜娟,朱一龍,陳一諾,王藝曈,王春妹,趙家林,陳思璇,關(guān)慧卿太子在上朝時(shí)，建議由熊廷弼將軍去攻金兵。萬歷在鄭貴妃面前吐了血，太醫(yī)說活不過一個(gè)月。萬歷心疼鄭貴妃說，我要讓你當(dāng)皇后，我不讓常洵當(dāng)皇帝是因?yàn)椋蚁胱屗砬甯?，過平民生活，我10年不理朝政，就是為了這種生活，而鄭貴妃心里卻很生氣。她不讓大臣和皇太子覲見。三皇子要去攻打匈奴，而鄭貴妃卻說，要讓常洵留京，否則太子會(huì)繼位后殺他。三皇子領(lǐng)一萬精兵，鄭貴妃便要挾崔文生公公，把章印在假圣旨上，讓其子留京。王安公公為保護(hù)傳國玉璽，假意裝瘋。而其義子是鄭貴妃的人，一心要拿玉璽，一夜，王安見他上吊，便將玉璽藏在花瓶里，誰知他詐死，拿走了玉璽。太子與大臣談話，梅兒見苗頭不對，便放出芊芊，芊芊與樺兒相認(rèn)，痛哭不止。蘭心和碧瑤去找王庭家的女眷，希望能救太子。萬歷夜里睡覺，要喝水，可是鄭貴妃卻去拿玉璽，萬歷駕崩了。太子有要事要進(jìn)宮，而三皇子不讓，芊芊趁機(jī)出來，三皇子同意了，還要跟芊芊遠(yuǎn)走高飛。進(jìn)宮之后，知道皇帝駕崩，鄭貴妃出八雄。而金碧瑤以江南繡娘的名義進(jìn)宮，便讓女眷與八雄斗。梅兒在讓朱由校習(xí)武，鄭貴妃派人活捉太子之子，梅兒靈敏聰慧，救了由校一命。王安去找總教頭派御林軍救駕，熊廷弼將軍也回來了。芊芊為救太子，犧牲了。三皇子交出了令牌，太子答應(yīng)芊芊封她為福親王妃，芊芊便咽氣了。太子繼位，號泰昌，讓民眾減稅，讓壯士出征，喝了三大碗。封上官蘭心為敬賢妃，封金碧瑤為英德妃，李梅兒為李選侍。
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.
大熊
亞當(dāng)·布羅迪,泰勒·萊伯恩,巴勃羅·施瑞博爾,托比·哈斯,喬伊·科恩,扎克里·奈頓,Heidi HeasletBIG BEAR is about Joe (Joey Kern) who reluctantly has his bachelor party even though his fiancé just dumped him for some Dude (recent Emmy nominated. Pablo Schreiber).
德爾蘇·烏扎拉
馬克西姆·蒙祖克,尤里·索洛明,斯韋特蘭娜·丹尼爾琴科這是一部極為出色的關(guān)于人與自然的電影。1902年和1907年，沙俄軍官阿爾謝尼耶夫兩次率領(lǐng)勘探隊(duì)到烏蘇里地區(qū)探險(xiǎn)，都巧遇赫哲族老獵手德爾蘇·烏扎拉。德爾蘇.烏扎拉為勘探隊(duì)充當(dāng)向?qū)?，并挽救了阿爾謝尼耶夫的生命，與之建立了深厚的情誼。德蘇對大自然相當(dāng)了解與尊重，藉由他的示范 與見解，讓人們了解大自然的偉大與殘酷，人是可以與大自然和平相處，但當(dāng)大自然被破壞時(shí)，人們將是第一個(gè)遭殃。德蘇是一個(gè)神槍手，但后來在一次打獵時(shí)，德蘇發(fā)現(xiàn)自己的眼睛因?yàn)樯眢w衰老而退化，看不清獵物了，十分沮喪。他隨阿爾謝尼耶夫到大城市伯力居住。但是，城市文明德蘇卻無法習(xí)慣，城市和他過去賴以生存的地方，那片純樸的自然大地是完全不同的。獵人離開槍，離開了他所熟悉的環(huán)境，仿佛魚兒離開了水。“城里沒法狩獵，不狩獵就沒有貂”“我突然想念空氣。”他象是被囚禁了一般，悶悶不樂。德蘇執(zhí)意回到山里，回到那片密林。但是，獵人沒有好的視力，便是最大的悲劇。獵人不能獵殺，自己便被會(huì)獵殺。勇敢的德蘇雖然帶著阿爾謝尼耶夫送給他的新獵槍，但是他卻死了……
午夜場
范夢,馮言彥,鄧先宇,歷家兵,李子雄《午夜場》講述了戲院經(jīng)理林梅（范夢飾演）與戲院大小姐子君（馮言彥飾演）是無話不談的閨蜜，在子君即將結(jié)婚前，無意間發(fā)現(xiàn)林梅好似和自己的未婚夫家?。ㄠ囅扔铒椦荩┯兄撤N不為人知的關(guān)系。某一天，在他們工作的三十七號古宅內(nèi)，一場備受關(guān)注的木偶劇目正在上演，而神秘的木偶附身也即將開始。隨著現(xiàn)實(shí)詭異畫面與林梅的夢境交織，令人意想不到的真相浮出水面！