中文名拳擊手導演劉苗苗編劇劉方煒主演：劉延張中超許志群劉尚嫻王建成50年代末，某省體育館，一場全國性拳擊錦標賽的決賽開始了。拳擊臺下，著名拳擊手陳偉東已懷孕的妻子張曉薇。正緊張地注視著比賽情況。拳擊臺上，陳偉東和著名拳擊手司馬立雄激烈拼搏著。突然，司馬立雄一記直拳把體力不支的陳偉東打倒在地，他再也沒有爬起來。中國從此停止了拳擊運動。十年動亂初期，司馬被關進監獄。粉碎“四人幫”后，已是兩鬢白發的司馬被無罪釋放。1979年9月，鄧小平同志會見訪華的拳王阿里，拳擊運動又在中國興起。司馬找到亡友陳偉東的妻子張曉薇，真誠地表示自己要盡力幫助她的愿望。張曉薇告訴司馬，她的兒子陳冬也在學拳擊，希望司馬能當兒子的教練。司馬暗下決心，一定要把老朋友的兒子培養成為優秀拳擊手。陳冬在司馬的指導下進步很快，不久成為體院拳擊隊的正式隊員。在一次全國拳擊錦標賽上，陳冬勇猛拼搏，一舉奪冠。陳冬與女歌手南妮相愛了。正追求南妮的王德森找到司馬，告了陳冬一狀。司馬有意安排強化訓練，陳冬被對手打得昏昏欲倒，南妮見狀和他吹了。他的心被刺傷，竟決定不當拳擊手了。這時盛怒的司馬將陳冬父親的死因告訴了他，陳冬發瘋地沖上去，把司馬擊倒在地。張曉薇去看望司馬，司馬坦然地表示很理解陳冬的心情，并將自己多年來-一一亢藏于心里的痛苦和悔恨告訴了張曉薇，他倆相互理解了。南妮和王德森結婚了，但她依舊懷念陳冬，為擺脫感情上的折瞻，她去外地旅行。陳冬被選拔參加國際拳擊邀請賽，他把自己的全部精力投入到緊張、艱苦的訓練之中。國際拳擊比賽即將開始，陳冬深情地望著司馬教練飽經滄桑的面孔，眼睛濕潤了。他昂首挺胸，堅定地走上拳擊臺，去迎接對手的挑戰。

遲來的憤怒

安東尼奧·德·拉·托雷,路易斯·卡葉赫,露絲·迪亞斯,勞爾·希門尼斯,曼諾羅·索洛,馮特·加西亞,皮拉爾·戈麥斯,艾麗西婭·魯維奧,蓋茲卡·阿達納斯,馬丁·盧納,查尼·馬丁,恩里克·德拉托雷,茵瑪·桑喬,帕科·本杰梅亞,貝爾塔·埃爾南德斯

　　威尼斯的地平線單元中，出現了這樣一部電影，不扯人性，“三觀”卻正到讓人大呼過癮，這就是講述了一個干脆利落的復仇故事的西班牙電影《遲來的憤怒》。　　影片講述了一個男人為了替在搶劫案中慘死的女友和變成植物人的老爸報仇，潛伏八年，甚至睡了搶劫團伙司機的孩子他媽，只為等他出獄，威脅他，順藤摸瓜找到躲藏起來的真兇們，一個一個復仇。

芭比姐妹之狗狗大冒險

Kelly Sheridan,Kazumi Evans

芭比（凱莉·謝里丹 Kelly Sheridan 配音）、思佩（Kazumi Evans 配音）、思倩（Claire Corlett 配音）和凱麗是情同手足的四姐妹，雖然她們有著迥異的性格，但是彼此之間的感情十分要好。芭比和妹妹們一起回到故鄉探望奶奶，沒想到竟然在閣樓上發現了一張布滿了灰塵了藏寶圖，根據藏寶圖顯示，一份失落已久且價值連城的寶藏就隱藏在她們所在的小鎮里。就這樣，芭比一行人帶上她們的愛犬踏上了尋寶旅程，一路上，無數的艱難險阻在等待著她們，但四人一狗憑借著她們過人的勇氣和卓越的智慧將困難紛紛化解。最終，她們發現，她們所收獲的最寶貴的東西，不是寶藏，而是親情和友情。

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.

児玉れな – 黃昏のシンフォニア

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