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内乱夫人
崔有华,이영준,김학수养鬼吃人2
Clare Higgins,Ashley Laurence,Kenneth Cranham,Imogen Boorman,Doug Bradley角头：斗阵欸
高捷,蔡振南,太保,喜翔,龙天翔,王识贤,夏靖庭,孙鹏,黄腾浩,张怀秋,黄尚禾,郑人硕,张再兴,唐振刚,吴震亚,黄冠智,林真亦,陈万号,白吉胜,李铭忠,崔浩然,黄镫辉,吴念轩,是元介,瑞玛·席丹,王阳明,陆明君,曾珮瑜,荒山亮,林道禹,隆宸翰,邱永腾,游安顺,伊正,王自强,孙国豪,草爷仪式2024
朱丽安娜·戈德史密斯,杰瑞坎皮西,Alex Whitehouse火凤凰1978
姜大卫 (David Chiang),上官灵凤 (Lingfeng Shangguan),岳华 (Hua Yueh)女人们的谈话
鲁妮·玛拉,朱迪思·爱薇,艾米丽·米切尔,凯特·哈莱特,丽芙·麦克尼尔,克莱尔·芙伊,希拉·麦卡锡,杰西·巴克利,米歇尔·麦克劳德,基拉·古洛安,莎伊拉·布朗,弗兰西斯·麦克多蒙德,薇薇安·安迪克特·道格拉斯,本·卫肖,奥古斯特·温特,洛克兰·雷·米勒,纳撒尼尔·麦克帕兰德,威尔·宝,伊里·哈姆,艾米丽·德雷克,马库斯·克雷格,卡罗琳·吉利斯同类推荐
破军X档案隐身人
白云峰 沐岚 杜宇航 克拉拉神秘组织在一项禁忌实验中，意外造成前“破军”代号继承人林中飞变成隐身人，从而人间蒸发。三年后，因一起离奇的案件，新上任的探长吴明进入大家的视野，而他的真实身份竟然是失踪三年的林中飞。新任破军萧健本能识破林中飞的阴谋，却遭心爱的恋人瑶光怀疑。林中飞一步步谋划，使得众人陷入绝境。显然，他的目标不仅是复仇。生死时刻，萧健孤身赴约，与隐身人展开了生死对决…
搜查瑠公圳
朱轩洋,吴卓源,张世,梁修身,朱栢康,姚淳耀,张永正,李雪,潘仪君,詹怀云,马力欧,罗芽里,廖嘉琛,王振复,钱薇真根据1961年轰动全台的“瑠公圳分尸大案”改编。刑警赵子午（朱轩洋 饰）与记者张秀秀（吴卓源 饰）在得知女尸案有幕后阴谋后，联手搏命找寻真相。警方也随后发布巨额悬赏。不料，赵子午父亲、抗日将军赵志升（张世 饰）被列为分尸案嫌犯。媒体得知后开始疯狂报道，一时间这起混杂血案、舆论、政敌的分尸案闹得全城震动……
汽车旅馆人生
Emile Hirsch,达科塔·范宁时光网讯 据国外媒体报道，埃米尔·赫斯基将主演一部名为《The Motel Life》的新片，而他也被本片最早确定下来的主创人选。 影片改编自Willy Vlautin的同名处女作小说，讲述了一对内达华州的兄弟在经历了一场致命变故后踏上逃亡之路，虽然途中偶然会出现幸运和希望，但他们依旧渐渐被社会所遗弃。
抖擞
马克·沃尔伯格,保罗·沃尔特·豪泽,萨莎·拜伦·科恩,本杰明·布拉特,卢西亚诺·萨法尔,艾娃·德·多米尼奇,丹妮拉·曼希沃,莫莉·香侬,切尔茜·克里斯普,埃里克·安德烈,杰克森·托泽尔,亨利埃塔·阿梅沃尔,阿贝·法雷利,瑞恩·谢尔顿,娜塔丽·奥利维拉,提亚戈·莫拉斯,斯隆·费希尔,詹尼·德古拉,朱丽安娜·卡斯特罗,伊恩·阿达姆森营销高管布拉德与伊莱贾，为拿下世界杯顶级赞助，提出了一个大胆到离谱的避孕套品牌合作提案。本以为能一战成名，却因一场酒后失控的丑闻，彻底沦为全民公敌。为了保住性命、全身而退，两人被迫开启横跨全球的疯狂逃亡，在体育营销界的乱象中，用更疯狂的操作，躲过接踵而至的麻烦与追杀。
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.