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两个;香港痴汉 rdquo;为要争夺痴汉界之一哥地位而各出奇谋，各自四处捉女玩强迫，三个裸女惨被禁密室，困铁笼！
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当家好女婿
Adrian Vazquez,Jero Medina,Verónica BravoKING OF PRISM -Your Endless Call- 大～家一起闪耀！PRISM☆TOURS
寺岛惇太,齐藤壮马,畠中祐,八代拓,五十嵐雅,永冢拓马,内田雄马,苍井翔太,武内骏辅,杉田智和,柿原彻也,前野智昭,增田俊树,三木真一郎,关俊彦,森久保祥太郎,浪川大辅,中山咲月,山下诚一郎,小林龙之,土田玲央,河合健太郎,鹈泽正太郎,橘龙丸,浦田涉,天月,梶原岳人,田丸笃志,近藤隆,大桥贤一郎,冈本信彦血腥姐妹会
科林·伊格斯菲德,迪伦·斯派比利,米娅·罗斯·弗兰普顿,兰迪·库卓,莱克西·阿特金斯,Lala Kent,Sarah McDaniel,雷卡·雷内,梅莉尔·罗斯,泰勒·乔恩·奥尔森,凯瑟琳·勒,塔尼娅,谢伊·巴克纳,詹妮弗·提图斯,Natali Yura全境灾变
伊芙·詹姆斯 Eve James,坎农·史密斯 Kannon Smith,莱琳·麦克 Lelyn Mac时装
安吉丽娜·朱莉,阿尼尔·阿内伊,艾拉·朗夫,路易·加瑞尔,加朗斯·马里利埃,纪尧姆·马贝克,文森特·林顿,肖恩·格莱特,费尼肯·欧菲尔德,米格伦·米切夫,克斯蒂·伊尔维斯·萨维纳,阿黛尔·蒙特布尔,卡蒂亚·克里韦拉里,弗朗索瓦·菲利皮年兽
陈创,姜彭,吕妍,於薇妮,杜星奇,刘霖,郑龙人气佳作
奥利维娅与云
Olga Valdez,Héctor Aníbal,Elsa Núñez,Dominique Goris,Fery Cordero安妮·霍尔
伍迪·艾伦,黛安·基顿,托尼·罗伯茨,卡罗尔·凯恩,保罗·西蒙,谢莉·杜瓦尔,珍妮特·玛戈林,科琳·杜赫斯特,克里斯托弗·沃肯,唐纳德·赛明顿,琼纽曼,马丁罗森布拉特,亨泽尔,拉舍尔·诺维科芙,拉塞尔·霍顿,马歇尔·麦克卢汉,玛丽·博伊兰,约翰·多马尼安,波波·马罗夫,Rick Petrucelli,克里斯·甘佩尔,迪克·卡维特,马克·雷纳德,约翰·格洛弗,约翰·丹尼斯·约翰斯顿,劳丽·伯德,杰夫·高布伦,查尔斯·莱文,Johnny Haymer,迈克尔·阿罗宁,Ved Bandhu,Jim McKrel粽邪3：鬼门开
张庭瑚,李兴文,吴奕蓉,许安植,陈博正,刘国劭,李明仓,王彩桦,黄柔闽,陈为民,曾莞婷,邹承恩,陈雪甄,施冬麟,许莉廷,陈少卉,陈昭妃,姜仁,游否希步履不停
阿部宽,夏川结衣,江原由希子,高桥和也,田中祥平,野本萤,林凌雅,寺岛进,加藤治子,树木希林,原田芳雄导演精选
蹂躏
When a nature photographer explains to the Police how she fought her way out of the Watchatoomy Valley, they dismiss her crazed and violent story as a meth-induced nightmare. But when they discover that she's telling the truth, it's too late.
冰球小子
一名过气冰上曲棍球教练，在麻州小镇中领导一队二流球队辗转作战，终于在最后一场比赛中挽回他失落的名声。这是一部拍得相当直率粗暴的男性化运动片，冰上曲棍球的比赛场面经常可见互殴和流血镜头，加上对白的"四字经"不绝于耳，当年首映时也引起了不少争论。曾经合作过金像奖电影《刺激：骗中骗》的导演乔治·莱希尔和明星保罗·纽曼，再一次表现出卖力的成绩。
等待方舟
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.