大軍閥
日俄戰(zhàn)爭期間，土匪頭子龐大虎（許冠文 飾）假扮成俄國人燒殺搶掠，他打退了懦弱的清兵，也擊敗了日本人。龐因此受到俄國人的嘉獎，一躍成為統(tǒng)治北方的軍閥頭子。這個大字不識一個的老粗雖然身居高位，卻也鬧出不少笑話： 上任之初，一支求雨隊伍擋住龐大虎的去路，龐聞聽大怒，下車將龍王臭罵一通，并揚言炮轟龍王廟。無巧不成書，大雨隨即而至，龐因此被馬匹精和懵懂百姓捧上天；寡婦高白氏（胡錦 飾）勾搭家中長工紀伯常，偏巧為求學(xué)歸來的小叔子撞破，y-婦于是誣告小叔子意圖強迫。龐大虎奇人出奇招，巧斷這起強迫案；妻妾成群的龐貪婪無度，意欲強娶女伶蘭芳，蘭芳之父憤而阻攔，反遭其殺害。多行不義必自斃，作惡多端且顢頇的龐大虎終于迎來了自己的末日
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昏神
邁克·C·曼寧,格里芬·弗里曼,瑞恩·平克斯頓,奧格斯·羅德,特里薩·納瓦羅A group of young men dare a classmate to reach the porch of a legendary old house, said to be haunted by the thirteen victims of a family massacre. In hopes of making a viral video they arm him with a video camera to prove he was there or to capture him fleeing in terror before even reaching the house, as others have. When he doesn't return, the guys must go in to get him. Inside they discover the truth about the house, the fate of their friend and their own fate as well.
爆水管
彭于晏,艾倫,周游,閆佩倫,楊皓宇,蔣雪鳴,付航,潘斌龍,卜鈺,張琪,黃炎,徐東,楊朕,楊晨汐,周彥辰,劉亦淳,普雷姆·亞達夫,景瓷,艾然一個東南亞小鎮(zhèn)中，卷王警察于大海（彭于晏 飾）起早貪黑，努力工作，讓小鎮(zhèn)連續(xù)7年維持0犯罪率。結(jié)果因為沒有案子，警察將被全員辭退，“鐵飯碗”成了“塑料碗”，為保住工作，于大海決定和隊友們一起造個大案。與此同時，真正的大案正在發(fā)生，前來投奔羅四季（艾倫 飾）的盜墓賊羅浩（周游 飾）、牛大輪（閆佩倫 飾）一家人，盯上了傳說中藏有寶藏的古墓，而這個古墓就在警局之下......
最小的女兒
納迪亞·梅利蒂,樸智敏,阿米娜·本·莫哈邁德,梅麗莎·古爾斯,麗塔·邦曼納納,Razzak Ridha,路易·梅米,Waniss Chaouki,阿諾亞·卡德拉斯,Joven Etienne,Madi Dembele,Mahamadou Sacko,Ahmed Kheloufi,Pascal Chanez,Sophie Garagnon,Julia Muller,尼莫·謝夫曼,Gabriel Elka?m,Vincent Pasdermadjian,Victorien Bonnet出身穆斯林家庭的少女法蒂瑪，即將前往巴黎讀大學(xué)。站在人生岔路口，她面臨性向與信仰的纏斗。對女體難以啟齒的貪戀，化為交友軟件上無數(shù)個假名與忘我纏綿的幽會。隨著晨禱摻入雜念，法蒂瑪遇見命定的那個她，在親密關(guān)系里感受愛與傷，卻依舊迷茫。四季遞嬗間，那些捫心自問的日與夜，會將法蒂瑪帶往何方？
寶島2025
妻夫木聰,廣瀨鈴,洼田正孝,永山瑛太,冢本晉也,中村蒼,瀧內(nèi)公美,榮莉彌,尚玄,瀧正則,木幡龍,奧野瑛太,村田秀亮,Derrick Dover在二戰(zhàn)后尚未歸還日本的沖繩島上，有一群人自可怕的「鐵暴風」中幸存下來。他們像動物般活在殘破的世界，眼前是垂死的島民和尸體。于是他們從美軍的倉庫和基地搶奪物資，延續(xù)這座島上未完的戰(zhàn)爭，他們被叫做「戰(zhàn)果撈客」。直到那一夜，阿恩（永山瑛太 飾）在嘉手納基地的逃亡過程中神秘失蹤，一場曾將故鄉(xiāng)燒毀殆盡的鐵暴風再度席卷這座島嶼而來。 「活下去，生還才是最大的戰(zhàn)果?！苟嗄曛螅瑣u上女孩接連慘遭殺害，一名菜鳥琉球警察（妻夫木聰 飾）奉令偵辦命案。追捕疑犯的過程中，在兇手車子里發(fā)現(xiàn)的人骨和一名神秘出現(xiàn)的男孩，讓他兒時身為戰(zhàn)果撈客的記憶與一道道未解謎團又重回腦海。
雜交種
Angela Durazo,Nathan Schellerup,Malinda Farrington,Danny Winn,Katy BentzThe nightmare was about a demonic possession. A long time ago, there was an evil in a small town and it was jealous of the girl and would never let her go, since the devil loved the girl. One night, the evil raped the girl and she became pregnant. After months the girl could not hide her baby, her father figured her secret out and clapped the girl in irons and locked her room door. But the evil put the gun to her father' temple and saved the girl. The father had a stroke and had been sleeping on the bed for three months and died. Time went on and the girl brought a child into the world. Naturally, people who were living in the village heard the story and they did not want to see neither the girl nor the baby since when the baby was born, plants dried in the field, fishes lost in the lake and people had prayed to the god for rain, but nothing changed in the village. People got so angry, dug a hole in front of the fountain, put her into the hole and threw stones at her face. The girl died soon after. The evil went off the deep end, took a revenge of the village and killed everyone except two sisters because the evil wanted them to take care of its baby...
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,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·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.