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人肉炸彈
莉斯爾·阿勒斯,蕾內·斯沃特,肖恩·卡梅倫·邁克爾九個朋友，去森林露營過程中他們經歷了一個瘋狂的奪命之夜。派對醒來時，九個人胸前綁著自殺式炸彈，倒計時鐘上都有不同的時間。當他們發現可以通過殺死對方來“占用”對方的時間時，自相殘殺開始了。
絕命空間站
Julia Franz Richter,喬治·布萊頓,馬克·伊瓦涅2056 - Company soldier Hannah and scientists Gavin and Dimitri are on board of RUBIKON space station researching an algae project aimed to provide humanity with a permanent supply of oxygen and food. But all of a sudden the earth beneath them disappears in a brown, toxic fog and all contacts are broken - are they the last survivors? Should they leave the safe station, risk their lives by flying back? What is worth living for, what is worth dying for?
我愛777
舒淇,天心,譚耀文,楊恭如占士邦（譚耀文 飾）長得一表人才又頗具才干，是廣告行業內出了名的花花公子。因為對感情缺少信任，年歲漸長的他依舊保持單身，在內心里，他一直希望能夠出現一個“完美的女人”，捕獲他的真心。 最近，占士邦在工作上遇到了點麻煩，他需要策劃一支啤酒廣告，卻苦于沒有靈感。就在這個節骨眼上，仿佛是上天賜給他的禮物，一個神秘的女子茱莉亞（舒淇 飾）出現在了占士邦的生活之中，只是，當占士邦開始注意到茱莉亞之時，她早已經消失的無影無蹤。茱莉亞的冷艷與神秘帶給了占士邦靈感，工作上的問題迎刃而解，與此同時，占士邦亦對茱莉亞的真身產生了興趣。
杜塞
瓦萊麗亞·布魯尼·泰德斯基,諾米·梅蘭特,文森佐·內莫拉托,范尼·伍羅奇納,福斯托·魯索·阿萊西,馬切羅·馬扎雷拉,文森佐·皮羅塔,費德里科·帕西菲奇,選填,Iacopo Fanelli,Gaja Masciale,文琴察·莫迪卡,米莫·博雷利,Edoardo Sorgente,薩維諾·帕帕雷拉,Vincenzo IantornoA portrait of actress Eleonora Duse.
銀河護衛隊：圣誕特別篇
克里斯·帕拉特,龐·克萊門捷夫,戴夫·巴蒂斯塔,凱文·貝肯,邁克爾·魯克,布萊德利·庫珀,范·迪塞爾,凱倫·吉蘭,肖恩·古恩,瑪麗亞·巴卡洛娃,Old 97's,盧克·克萊因,凱拉·塞吉維克,大衛·莫斯科維茨,史蒂芬·布萊克哈特這個假期將會是最棒的。漫威電影公司特別預告:《銀河護衛隊》假日特輯，將于11月25日在迪士尼+上播放。
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.