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编辑推荐
你好弗里达
奥利维娅·鲁兹,Emma Rodriguez,Rebeca Gonzales,Léo Côté,Sophie Faucher,曼努尔·泰德罗斯,Anne Girard,Joey Bélanger影片生动展现了墨西哥传奇女画家弗里达·卡罗的童年生活。好奇心旺盛的弗里达整天和妹妹玩耍，和邻居家的狗做朋友，爬树，在小镇上奔跑，当她拥有人生中的第一本笔记本，就迫不及待的上面涂满色彩斑斓的图画和想法。小儿麻痹症让她卧床不起，但小弗里达毫不退缩，一旦康复，她就会重返街头，展现她旺盛的生命力。
家弑服务
西德尼·斯维尼,阿曼达·塞弗里德,布兰登·斯克莱纳,米凯莱·莫罗尼,伊丽莎白·珀金斯,梅根·弗格森,艾伦·塔玛基,印第安娜·艾尔,伊万·阿马罗·布隆,莫瑞·金斯堡,多恩·迪皮塔,阿莱娜·苏格纳,阿拉贝拉·奥利维娅·克拉克,马特·沃尔顿,阿曼达·乔伊·埃里克森,布赖恩·D·科恩,索菲娅·邦内尔,凯伦·傅,亚历山德拉·西尔,里根·菲茨杰拉德改编自芙蕾达·麦克法登的同名畅销小说。 为生计挣扎的女子米莉（西德尼·斯维尼 Sydney Sweeney 饰）找到了一个新的开始，在一对看似完美且富有的夫妻妮娜（阿曼达·塞弗里德 Amanda Seyfried 饰）和安德鲁（布兰登·斯克莱纳 Brandon Sklenar 饰）的家中做家政。然而，米莉很快发现一家人的秘密比自己的要危险得多，这座豪宅背后上演着充满秘辛、丑闻、权力诱惑的游戏。
大怪兽加美拉
船越英二,北原义郎,浜村淳,大山健二,吉田义夫,左卜全,村田扶实子,大叶健二大映が初めて手掛けた、1965年制作の本格怪獣映画『ガメラ』シリーズ第1作。監督は、湯浅憲明。北極海上で原爆を積んだ国籍不明機が米軍機によって撃墜され、氷山に墜落した。このため、積んでいた原爆は爆発、氷山に閉じ込められていたエスキモーの伝説の怪獣ガメラが蘇った。巨大な亀怪獣ガメラはその後姿を消し、入れ替わるかのように世界中で謎の空飛ぶ円盤が目撃される。人々の関心が空飛ぶ円盤に移り、ガメラのことが忘れられた頃、再びガメラが北海道にその姿を現した。自衛隊の作戦で仰向けにひっくり返されたガメラ。起き上がることの出来ないガメラに、人々は勝利を確信するが・・・。
饿狼传说：满月杀手
蒂娜·露易丝,伊桑·恩布里,艾琳·库明斯,凯伦·琳恩·高妮,汤姆·诺南,兰斯·盖斯特,阿尔·萨皮恩扎,拉瑞·凡斯登,拉特安亚·阿尔达,尼克·丹米奇,Caitlin O'Heaney,Haythem Noor曾经驰骋战场的退伍老兵安布罗斯·麦金利（Nick Damici 饰）终究也抵挡不了衰老和死亡的侵袭，妻子早年去世，儿子威尔（伊桑·恩布里 Ethan Embry 饰）兀自忙着事业，父子关系虽不冷淡却也绝非亲近，双目失明的安布罗斯搭乘着儿子的汽车搬入名为克莱森特湾的老年社区，陪伴他的只有一条忠诚的狗狗。搬入当晚，住在隔壁的老妇人被一只饿狼模样的怪兽袭击身亡，而安布罗斯则经历了极其恐怖且终生难忘的夜晚。从医生口中得知，该社区每个月都会发生一次类似案件，但警方无一例外都将其归咎为普通的野兽所为。 得不到亲人的救助，更无法奢望父母的庇护，安布罗斯只能融入社区，寻找拯救自己的办法……
相遇之家
宋智孝,都嬴谞,玉智英,尹惠利拥有15年资历的资深女狱警，得知自己所负责的收容人美英母亲的死讯，之后开始展开的故事。狱警在告别式场以及殡仪馆遇见了美英的女儿俊英，这短暂的相遇，给三人的生活带来了温暖的变化。
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.