蘇珊的床
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名偵探柯南：獨(dú)眼的殘像
高山南,山崎和佳奈,小山力也,速水獎(jiǎng),高田裕司,小清水亞美,草尾毅,飛田展男,高木涉,湯屋敦子,茶風(fēng)林,岸野幸正,綠川光,山田孝之,山下美月“我想起來(lái)了……”沉睡的記憶與真相即將覺(jué)醒?！ 」适乱蚤L(zhǎng)野縣為舞臺(tái)，高人氣角色“長(zhǎng)野三人組”大和敢助、諸伏高明、上原由衣將登場(chǎng)亮相。當(dāng)毛利小五郎警視廳時(shí)期同事“鱷魚(yú)”遭遇意外，與致使大和敢助“獨(dú)眼”的神秘雪崩案交織，無(wú)法兌現(xiàn)的承諾和獨(dú)眼中的殘像就此重疊。雪花飛舞，真相與愛(ài)意終將明晰！這一次，毛利小五郎將不再沉睡，與柯南、大和敢助等人攜手探案，親手揭開(kāi)掩埋于雪山之下的秘密與真相……
喜馬拉亞星
鄭中基,張柏芝,劉青云,應(yīng)采兒,吳鎮(zhèn)宇,黃又南,徐天佑,李兆基,黃光亮,成奎安在喜瑪拉雅山長(zhǎng)大的亞星（鄭中基）練有一身瑜伽好功夫，某日奉父母之命下山參加印度西施家族舉辦的瑜伽選夫比賽的途中，被恨嫁的大家姐（應(yīng)采兒）纏住。為了阻止亞星參加比賽，大家姐想出把他變成人見(jiàn)人厭的壞小子的狠招，不想聯(lián)合三大惡人也沒(méi)能將亞星改變，不甘心之下，大家姐又找來(lái)以壞混世的大膽叔叔（吳鎮(zhèn)宇）?！ 】上Т竽懯迨迮c朋友驚青舅父（劉青云）及其兩個(gè)外甥已不幸被印度催眠術(shù)催眠，連自己是誰(shuí)都不再曉得，然而亞星總算找到了領(lǐng)門(mén)人，賭場(chǎng)的兩頭神蛇把他教成了沉迷于賭博和吸毒的壞小子，此時(shí)，大家姐發(fā)現(xiàn)還是原來(lái)的亞星比較好，決定陪其一同喝下“印度神奇油”回到從前。
咒物尋兇
格威利姆·李,卡羅琳·布萊肯,塔格·墨菲,卡羅琳·門(mén)通,史蒂夫·沃爾,喬納森·法蘭西丹妮原本和丈夫泰德正在翻修偏僻的鄉(xiāng)間別墅，卻在此地慘遭殺害，所有人都懷疑是當(dāng)?shù)鼐癫≡旱牟∪怂鶠?，因?yàn)樘┑抡窃撛旱囊幻t(yī)生。然而，案發(fā)后不久，嫌疑人就被發(fā)現(xiàn)死亡。一年后，丹妮的雙胞胎盲妹達(dá)茜（Darcy），一個(gè)自稱(chēng)通靈者和詛咒物品收藏家的人，意外拜訪了泰德和他的新女友雅娜。達(dá)茜深信她姐姐的謀殺案遠(yuǎn)比人們知道的要嚴(yán)重得多，因此她帶來(lái)了她收藏的最危險(xiǎn)的詛咒物品，以幫助她復(fù)仇。
姐妹董事會(huì)
蕾切爾·蕾·庫(kù)克,丹妮拉·莫奈,列奧尼達(dá)斯·古拉普蒂斯公司高管梅根成立了一個(gè)董事會(huì)，以改善她妹妹混亂的生活，并與一位心理學(xué)教授墜入愛(ài)河，后者發(fā)現(xiàn)了她強(qiáng)硬的舉止。
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.
大地1937
保羅·穆尼,路易絲·賴(lài)納,沃爾特·康諾利,蒂莉·洛施,查利· 格雷普韋恩,杰茜·拉爾夫,楊秀,陸錫麒,羅蘭·郭,Suzanna Kim,李清華,Harold Huber,奧拉夫·許滕,William Law,黃柳霜,安必立,Philson Ahn,Chester Gan,Betty Soo Hoo,James B. Leong,Bessie Loo,理查德·洛,Clarence Lung,阿瑟·馬克斯,查爾斯·米德?tīng)栴D,Miki Morita,Layne Tom Jr.,甘岱棠,Sammee Tong,I改編自賽珍珠的普立茲獎(jiǎng)小說(shuō)，是好萊塢在三十年代開(kāi)始注意東方題材的代表性作品。影片雖是描寫(xiě)中國(guó)農(nóng)村夫婦的悲劇故事，但主角均由美國(guó)人扮演，導(dǎo)演悉尼．弗蘭克林也采取西方古典電影的風(fēng)格來(lái)處理，在制作上相當(dāng)嚴(yán)謹(jǐn)認(rèn)真。劇情描寫(xiě)保羅．茂尼與路易絲．萊娜本來(lái)是貧困的農(nóng)民，面對(duì)饑荒的威脅甚至以烤土充饑。后來(lái)茂尼得到了一筆財(cái)富，竟整天花天酒地迷戀情婦，萊娜只有發(fā)揮賢妻的耐性期待丈夫浪子回頭。今天看來(lái)類(lèi)似故事已顯得老套，但本片的拍攝與特技表現(xiàn)杰出，路易絲．萊娜亦獲得奧斯卡最佳女主角獎(jiǎng)。