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天大的事
邵峰,劉惠,韓三明,張瑞雪,張衡平,郭晗該取材于武穴市4000多名黨員下社區(qū)、進小區(qū)，通過黨建引領(lǐng)老舊小區(qū)改造的故事：建于上世紀七、八十年代的老油廠小區(qū)，有9棟樓160多戶居民，是一個典型的無物管、無主管部門、無人防物防的“三無”小區(qū)。這里許多居民亂搭亂建雜物間、小車棚，下水道破損無人維修，生活污水橫流，居住環(huán)境十分惡劣。有條件的住戶外出購房搬離后，又將這里的房子出租出去，導致這兒的居住環(huán)境更加復雜。龍?zhí)渡鐓^(qū)主任張昊陽借老舊小區(qū)改造之際，做活黨建+的文章，派出社區(qū)片警樊玉鋒任第一支部書記，引導居民開展“法治、德治、自治”。在社區(qū)工作者和小區(qū)黨支部+業(yè)主委員會的共同努力下，解決了一批居民急難愁盼的事，終于讓居住在這里的近千名群眾生活出現(xiàn)了新業(yè)態(tài)。
巖漿毒蛛
斯蒂夫·古根伯格,尼亞·佩雷斯,帕特里克·瑞納,萊斯利·伊斯特布魯克,丹尼·伍德伯恩,拉爾夫·加曼,喬恩·馬克,阿諾德·陳,邁克爾·溫斯洛,馬里昂·拉姆塞,弗蘭克·鮑沃斯,本杰明·馬卡比,Zac Goodspeed在洛杉磯火山噴發(fā)釋放出巨大的群熔巖呼吸狼蛛。
亞當·桑德勒：愛你
丹·布拉,Jonathan Loughran,亞當·桑德勒,杰姬·桑德勒,羅伯·施奈德A new comedy special from Adam Sandler directed by Josh Safdie (making his comedy special directorial debut), Adam Sandler: Love You premieres globally on Netflix on August 27, 2024.
終極囚禁
Jascha Washington,Whitney Hoy,Marc Donato,Justin Arnold,Travis Tedford,Julin,Lindsay Seidel,Mark Nutter,Hunter Garner,Eric Isenhower,Preston Flagg,Matthew Posey,Laura Ashley Samuels,Vincent Silochan,Farah White,Daniel Ross,Ryan Hayden,Morgana Shaw美國德州一所高中，以布萊德利（賈斯廷·阿諾德 Justin Arnold 飾）為首的一眾男女學生風生水起，橫行霸道，經(jīng)常以欺負人為樂趣。印度裔學生萊比（Vincent Silochan 飾）、瘦小的戴恩（馬克·多納托 Marc Donato 飾）和有些內(nèi)向自閉的女孩艾米莉（林德賽·西德爾 Lindsay Seidel 飾）等人更是他們優(yōu)先欺負的對象。學校的狀況已然如此，與親人的關(guān)系又分外冷淡和緊張，戴恩他們的生活看不到一點兒希望。 8個月前，戴恩的叔叔去世，留給他一座偌大的農(nóng)場作遺產(chǎn)。飽受欺負且試圖自殺的他找到和自己同病相憐的幾個人，他們決定把學校的小霸王們請到舉行派對，在勁歌熱舞之中展開準備已久的血腥復仇……
弗蘭茨
伊丹·魏斯,彼得·庫爾特,耶諾夫法·波科娃,伊凡·特洛伊,Sandra Korzeniak,卡塔琳娜·斯塔克,塞巴斯蒂安·施瓦茨,亞倫·弗里斯,卡羅爾·舒勒,Gesa Shermuly,揚·布達爾,約瑟夫·特洛伊,卡雷爾·多布雷,Daniel Dongres,René Hofschneider,米哈爾·伊斯特尼克,弗拉迪米爾·雅沃爾斯基,Václav Jirácek,Michal Kern,Stepán Klán阿格涅絲卡·霍蘭憑借這部迄今為止最具野心的作品達成了導演生涯的巔峰，她呈現(xiàn)了一部關(guān)于20世紀捷克標志性作家弗朗茨·卡夫卡的傳記片。影片以萬花筒般的拼貼手法構(gòu)建而成，追隨卡夫卡留下的足跡——從19世紀的布拉格出發(fā)，直至他在維也納辭世，時間跨度涵蓋第一次世界大戰(zhàn)及之后。《弗朗茨》一片將為觀眾提供一個獨特的視角，一窺這位文學巨匠背后的人生軌跡。
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.