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豬八戒·傳說(shuō)
鄭冀峰,曾志偉,殷若曦,賈冰,張馳,毛毛,田啟文,趙志凌,張美娥,張大禮,王思琪天蓬元帥成為豬八戒之前一段秘史，一個(gè)所有青少年都經(jīng)歷過(guò)的故事，一個(gè)合家歡的故事！
黑神駒
凱利·雷諾,米基·魯尼,特瑞·加爾,克拉倫斯·繆斯,霍伊特·阿克斯頓以《返家十萬(wàn)里》揚(yáng)名的導(dǎo)演卡羅爾·巴拉德一鳴驚人之作。以戲劇化的抒情風(fēng)格描述一名男孩在船難中跟黑神駒同時(shí)漂流到荒島上，人與馬建立了兩位一體的非凡感情。后來(lái)他們獲救重回人類(lèi)社會(huì)，巧遇老牌馬術(shù)教練，乃被訓(xùn)練成出色的賽馬和小小年紀(jì)的騎師，在一次比賽中獲得冠軍。全片的攝影極為優(yōu)美動(dòng)人，尤其當(dāng)時(shí)的童星凱利·里諾在沙灘上跟黑神駒玩耍的場(chǎng)面，在視聽(tīng)效果上呈現(xiàn)出大自然之美的極至。米基·魯尼飾演的馴馬師在片中也占有重要地位，一老一少和馬之間的三角互動(dòng)關(guān)系爆發(fā)出感人的火花，堪稱(chēng)同類(lèi)影片中的一流代表作。
智勇三寶
許冠文,吳耀漢,陳百祥,岑建勛,陳國(guó)新,葉榮祖,午馬,林國(guó)斌,葉德嫻,胡因夢(mèng),陳欣健一次偶然中，阿秋（吳耀漢 飾）和貝多芬（岑建勛 飾）結(jié)識(shí)了犯罪調(diào)查專(zhuān)家阿文（許冠文 飾），志同道合的三人成為了很好的朋友。然而阿秋和貝多芬的真實(shí)身份系大盜，兩人和阿文正邪不兩立，而阿文對(duì)此并不知情，三人的關(guān)系在搖搖欲墜之中維系著艱難的平衡。 某日，阿文在商場(chǎng)里撞見(jiàn)了自己的妻子杜白莉（胡茵夢(mèng) 飾）正在和珠寶富商阿楊（翁世杰 飾）約會(huì)，遭到了背叛的阿文感到十分憤怒，決定對(duì)阿楊進(jìn)行報(bào)復(fù)。阿文駕駛著自己的機(jī)車(chē)要和阿楊的豪車(chē)一決高下，哪知道遭遇了車(chē)禍，不僅自己受傷，坐騎也報(bào)廢無(wú)法再騎，窘迫的時(shí)刻，阿秋和貝多芬及時(shí)出現(xiàn)，替阿文解了圍。
最后的救贖2024
娜塔莉·伯恩,詹姆斯·科茲莫,Denisa Juhos在這片充滿劍和魔法的土地上，土匪們?yōu)榱吮Ｗo(hù)一個(gè)小女孩而脫離了他們的幫派，讓他們與曾經(jīng)像他們父親一樣的老朋友和前領(lǐng)導(dǎo)人對(duì)抗。
惡鬼病毒
村重杏奈,太田將熙,桑山隆太,華村飛鳥(niǎo),吉田伶香,角由紀(jì)子,鳥(niǎo)之海凪紗,田中要次改編自二宮敦人的超人氣恐怖小說(shuō)《惡鬼病毒》，講述YouTuber內(nèi)川智樹(shù)帶著他的朋友日名子、颯太和奈々枝來(lái)到傳聞中有著神秘失蹤事件的舊石尾村拍攝一段調(diào)查都市傳說(shuō)的視頻。幾天后，警方在村外的一條隧道附近發(fā)現(xiàn)了四人租用的汽車(chē)，而在現(xiàn)場(chǎng)發(fā)現(xiàn)的一臺(tái)攝像機(jī)則記錄下了令人震驚的畫(huà)面。緊鎖的房屋、身著武裝制服的兒童、被關(guān)起來(lái)的成年人，以及在新月之夜發(fā)病的成年人......這個(gè)村子里究竟發(fā)生了什么？
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.