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金剛的逆襲
寶田明,羅茲·利森,濱美枝,琳達(dá)·米勒,天本英世60年代的日本人似乎對這個(gè)大黑猩猩情有獨(dú)鐘，在玩遍了各種哥斯拉的故事之后，依然將金剛的神奇遭遇不停地向人們展示、炫耀。光看他的故事就能讓人嚇一跳：科學(xué)家制造出了一個(gè)機(jī)械金剛，用來在北極挖掘神秘的X元素，與此同時(shí)邪惡的博士綁架了真正的金剛，令其干同樣的活，因此，機(jī)械金剛與原形之間的連番惡斗就在所難免了。
時(shí)裝
安吉麗娜·朱莉,阿尼爾·阿內(nèi)伊,艾拉·朗夫,路易·加瑞爾,加朗斯·馬里利埃,紀(jì)堯姆·馬貝克,文森特·林頓,肖恩·格萊特,費(fèi)尼肯·歐菲爾德,米格倫·米切夫,克斯蒂·伊爾維斯·薩維納,阿黛爾·蒙特布爾,卡蒂亞·克里韋拉里,弗朗索瓦·菲利皮在時(shí)裝周的狂熱中，三位女性在巴黎的生活中不期而遇，她們一邊應(yīng)對著世界的悲劇，一邊思索著自己人生的問題：麥克斯（Maxine），一位40多歲的美國電影導(dǎo)演，發(fā)現(xiàn)自己患上了癌癥；阿達(dá)（Ada），一位年輕的南蘇丹模特，逃離了她注定的命運(yùn)，卻被推入了一個(gè)充滿欺騙的世界；安吉爾（Angèle），一位在T臺幕后默默工作的法國化妝師，夢想著逃離自己的生活。
關(guān)你茶室
Yuriko Heng,K-Lao,賴宇涵,李國煌,Morn Liew,Joshua Se,Songbill,鄧金煌,Mayjune,黃楚琳,王竣阿彪繼承了母親的Kopitiam咖啡館，并與妻子百合子共同經(jīng)營。這家店曾經(jīng)生意興隆，但阿彪的管理方式和非傳統(tǒng)的營銷策略卻引發(fā)了意外危機(jī)，使Kopitiam陷入前所未有的困境。在與一位知名網(wǎng)紅發(fā)生沖突后，Kopitiam卷入了媒體風(fēng)波，導(dǎo)致生意急劇下滑。就在阿彪和百合子拼命努力扭轉(zhuǎn)局勢時(shí)，他們又面臨著被收回店鋪的威脅。他們能否成功度過這場危機(jī)，保護(hù)自己的家族企業(yè)？在逆境中，他們的婚姻和Kopitiam咖啡館又將何去何從？
羅薩里奧
大衛(wèi)·達(dá)斯馬齊連,何塞·祖尼加,艾米莉亞·福徹,保羅·本-維克托,埃默羅德·圖比亞,尼克·巴拉德,戴安娜·萊茵,Indhira Serrano,盧納·巴克斯特,Guillermo García,康斯坦薩·古鐵雷斯,加瑪爾·迪拉德,Isabella Hoyos,Daniel Abubakar Asema,Juan Camilo Salgado,Don Gellver,Deicy Campos蘿賽李?yuàn)W（埃默羅德·圖比亞 飾）是一名成功的華爾街股票經(jīng)紀(jì)人。某天，蘿賽李?yuàn)W接到祖母意外過世的消息，于是前往祖母居住的公寓查看狀況。因?yàn)楸╋L(fēng)雪的關(guān)系，蘿賽李?yuàn)W被迫與祖母的遺體共度一夜。這時(shí)，一股邪惡力量占據(jù)了祖母的遺體，蘿賽李?yuàn)W成為家族世代流傳詛咒的目標(biāo)……。
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.
華氏247
絲柯·泰勒-考普頓,克里斯蒂娜·烏洛亞,特拉維斯·范·文克,邁克爾·科彭,泰勒·梅恩,Rene Etore,托尼克·戈格里基亞尼,Jeremy Inabnit,Igor Lukin,Ibrahim Idowu,Michael Zaalishvili,Michael Andrew,Beso Natsvlishvili,George Dugashvili,Mamuka Mazavrishvili II晴朗的一天，三年前痛失男友的珍娜（絲柯·泰勒-考普頓 Scout Taylor-Compton 飾）與好友瑞妮（克里斯蒂娜·尤羅爾 Christina Ulloa 飾）、邁克（邁克爾·科彭 Michael Copon 飾）以及新結(jié)識的帥氣青年伊安（特拉維斯·范·文克 Travis Van Winkle 飾）前往某個(gè)鄉(xiāng)村，參加當(dāng)?shù)嘏e行的五月節(jié)。湖畔小屋，笑語歡歌，青年男女們縱情歡樂，只有珍娜強(qiáng)顏歡笑，似乎久久無法從三年前的慘劇中走出。隨著夜幕降臨，四人走入桑拿室，體會(huì)無上的蒸汽享受，而危機(jī)也正一步步向他們迫近。在此期間，邁克和瑞妮突然爆發(fā)爭吵，前者奪門而出，大發(fā)雷霆，而瑞妮和珍娜、伊安稍后卻發(fā)現(xiàn)，他們?nèi)藚s被意外鎖在桑拿室中?！ 囟戎饾u升高，而死神的腳步越來越近……