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风雪飘摇
王宇,伊日贵,其那日图,钢特木尔,赵思芮,熬尔,巴音故事背景发生在抗日战争时期,主角郭东是一名兽医,他的妻儿惨遭日本兵杀害,从此躲到了草原边陲的一个小镇上,过着惶惶不可终日的生活。郭东的自暴自弃使得他与当地人产生许多矛盾。就在此时,一名蒙古族孕妇的生命危在旦夕,众人无奈之下求助郭东,郭东在新生命的洗礼和蒙古族战士的感染下,重新明白了"英雄"的意义,完成了自我救赎。
外星博士
阿克曼博士是当地一所大学的生物老师,他在被不明飞行物追赶时遇到了意外的死亡。韦斯利,他的一个学生,在吸引女性方面有困难。这一切都发生了变化,当Xenobia女士接管了阿克曼的课程,并说服卫斯理参加一些维生素研究,她和她的助理Drax正在进行。突然,韦斯利变得很有魅力,尽管在兴奋的时候,他的脑袋里长出了肉质的天线。他新发现的成功可能会疏远他真正关心的那个女孩(Leeanne),而Xenobia的动机可能与她不是这个地球的事实有关。
安身何处
比尔·萨奇,埃迪·法可,Tatiana Abracos,Aida Johaness,杰·托马斯,Jade GoldenJoseph Fulton, a well-regarded fifty-eight-year-old director of romantic comedies, wants to become assistant groundskeeper at a local cemetery. He wants to work outdoors and be close to nature. Meanwhile, he thinks it’s important to have his last will and testament drawn up. But his highly dramatic actress girlfriend thinks he must be dying and that he is just too brave to tell anyone. The rumor spreads and soon everyone he knows—and some he doesn’t—are crowded into his small apartment to say their last farewells.
巨星嫁到
詹妮弗·洛佩兹,欧文·威尔逊,马鲁玛,萨拉·西尔弗曼,约翰·布莱德利,克洛伊·科尔曼,吉米·法伦,布雷迪·诺恩,蜜雪儿·伯托,乌特卡什·安邦德卡尔,基思·埃威尔,杰奎琳·霍努力克,卡特里娜·坎宁安,斯蒂芬·沃勒,劳伦斯·史密斯,莱恩·瓦莱丽,布莱斯·科里根,洛根·克劳福德,朱塞佩·阿迪佐内,赫纳多·罗德里格斯,亚历克斯·佩雷斯,瑞娜·郑,乔纳森·M·帕里森 ,马科·查卡,桃乐丝·麦卡锡流行巨星(詹妮弗·洛佩兹 Jennifer Lopez 饰)在结婚前一刻发现自己的未婚夫出轨,于是在台上随意挑选了数学老师(欧文·威尔逊 Owen Wilson 饰)结婚,二人究竟能否真正擦出爱情的火花?有情人最终能否终成眷属?
机械怪兽
乔治·纳德,Claudia Barrett
功夫机器侠之南拳
陈虎,王智《功夫机器侠》将中国功夫和科幻机械完美结合,加上好莱坞最强动作团队的打造,王智将大展身手,与好莱坞动作演员陈虎同框pk实力对撞。
等待方舟
耶日·斯图尔,克里斯提娜·杨达,卡里娜·谢鲁斯克,马里乌什·德莫霍夫斯基,马雷克·瓦尔切夫斯基,扬·诺维茨基,亨里克·比斯塔,莱昂·涅姆奇克,克兹佐夫·马扎克,斯坦尼斯瓦夫·伊加尔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.