納粹狂魔
別名：La caduta degli dei 影片講述在1933年德國(guó)納粹盛行時(shí)期一個(gè)鋼鐵家族的衰落和消失，一個(gè)家庭里充滿仇恨和殺機(jī)，老主管被殺，繼而各個(gè)家庭成員為了奪得這份財(cái)產(chǎn)，進(jìn)行了你死我活的較量 該片是一部以一個(gè)家族來(lái)透視一個(gè)民族的磅礴史詩(shī)。維斯康提最成熟，氣勢(shì)最恢弘的一部作品。導(dǎo)演借用一個(gè)黑暗的時(shí)代背景，描述了家族成員之間的勾心斗角、陰謀殘殺、虛偽狡詐、爭(zhēng)權(quán)奪利，而且用大量篇幅描寫(xiě)納粹褐衫黨徒的縱欲狂歡，以及黑衫黨與褐衫黨之間的矛盾和屠殺。 內(nèi)容還涉及了母子亂論、殺父等道德悲劇。維斯康提將權(quán)力和欲望使人性沉淪、泯滅和異化的殘酷事實(shí)，提升到希臘悲劇式的高度，并暗喻法西斯妄圖稱霸世界的權(quán)欲正是導(dǎo)致其滅絕人性的根本緣由。演員的演出極為出色，特別是博加德的完美表演令人叫絕。
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陷入麻煩的女孩
Columbus Short,Wilmer Valderrama,Alicja BachledaA Lower East Side bartender becomes entangled in a murder mystery involving a desperate woman, a missing drug dealer and the scion of a powerful investment firm.
春苗
李秀明,高寶成,達(dá)式常,林彬,白穆,于飛,李保羅,趙抒音,于元奇故事發(fā)生在文革前夕的1965年。婦女隊(duì)長(zhǎng)春苗（李秀明 飾）看不慣醫(yī)療衛(wèi)生大權(quán)把持在有資產(chǎn)階級(jí)思想意識(shí)的人手中，她主動(dòng)請(qǐng)纓到公社衛(wèi)生院學(xué)習(xí)，以期學(xué)成回村為貧下中農(nóng)服務(wù)。她不顧院長(zhǎng)杜文杰（白穆 飾）和醫(yī)生錢濟(jì)仁（馮奇 飾）的刁難排擠，在方明（達(dá)式常 飾）的幫助下，她刻苦鉆研專業(yè)知識(shí)，但杜與錢的所做所為還是讓她憤然離開(kāi)了醫(yī)院。春苗回村后，在黨支部的支持下，她在村里的衛(wèi)生室做了一名赤腳醫(yī)生。1966年，文革開(kāi)始后，杜文杰出于不可告人的目的，在公社辦起赤腳醫(yī)生培訓(xùn)班，春苗和其它村的赤腳醫(yī)生揭穿了杜文杰的陰謀，杜腦羞成怒，暗中下毒謀害水昌伯（高寶成 飾），并嫁禍春苗，春苗識(shí)破了杜的詭計(jì)......
月球漫步2024
柳承穆,黃智雅,金敏京,宋東煥對(duì)于16歲的女孩Jung-hee來(lái)說(shuō)，一年中最困難的一天是她祖母的陣亡將士紀(jì)念日。鄭熙通常很難和酗酒的母親相處，但在這一天，她大喊大叫的祖父的妹妹來(lái)了。她每年都會(huì)責(zé)罵正熙的母親和叔叔，問(wèn)她為什么為自殺的祖母做追悼會(huì)，而不考慮找到離家出走的祖父。自從他的祖父在正熙出生的那天失蹤后，正熙不知怎么地覺(jué)得這是她的錯(cuò)。所以Jung-hee決定去冒險(xiǎn)，在那里她可以解開(kāi)所有的秘密，結(jié)束她母親的青春期。
殺出銀河系
Edward Albert星際聯(lián)盟收到探索飛船發(fā)出的求救信號(hào)后立刻派遣星際精英特種小組前去營(yíng)救，由于機(jī)器故障飛船迫降到那個(gè)荒蕪且怪異的星球上。不久后，船員在星球上發(fā)現(xiàn)了那艘廢棄的飛船，但里面的飛行員都莫名其妙的死去，為了防止尸體異變，他們決定把尸體全部銷毀。隨后船員們發(fā)現(xiàn)了金字塔般的巨大建筑物，然而噩夢(mèng)從此開(kāi)始，他們釋放了金字塔中所有的嗜血星際怪獸，星球瞬間被恐怖包圍，喪尸怪獸一并向人們襲來(lái)，他們?cè)撊绾瓮炀茸约骸?（此片精彩的沒(méi)話說(shuō)，星球大戰(zhàn)般的場(chǎng)景加異型的特效以及著名的cult片演員們齊聚在一塊所產(chǎn)生的名詞是什么？那就是經(jīng)典~！ 這部B級(jí)片的經(jīng)典程度已經(jīng)影響到未來(lái)科幻恐怖電影的發(fā)展前途，像黑洞表面之類的電影就是對(duì)其進(jìn)行無(wú)恥的抄襲。影片甚至影響了*本成人動(dòng)漫的一個(gè)類型，那就是觸手系漫畫(huà)~片中有經(jīng)典的蠕蟲(chóng)強(qiáng)*金發(fā)奶霸的震撼鏡頭，這就是八十年代恐怖片的魅力……）
怖谷鳥(niǎo)
亨特·莎弗,賈恩·布盧特德,馬爾頓·索克斯,杰西卡·亨維克,丹·史蒂文斯,米拉·劉,格蕾塔·費(fèi)爾南德斯,波斯·曼達(dá)尼,阿斯特麗德·伯格斯-弗瑞斯貝, 康拉德·辛格,卡琳·莫羅17歲的女孩Gretchen（亨特·莎弗 Hunter Schafer 飾）被迫與家人一起搬到一個(gè)度假勝地，而那里并不像看上去的那樣平靜。
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.