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殺戮南瓜怪
佩頓·伊麗莎白·李,柯瑞·福格爾瑪尼斯,懷亞特·林德納,卡拉·吉門內(nèi)斯,Sasha Mason,喬納·利斯,DJ·考爾斯,Marc Sully Saint-Fleur萬(wàn)圣節(jié)之夜，一位少女劇作家、她的弟弟和一群幸存者被困在一個(gè)可怕的村莊里：一群有著生命的南瓜開(kāi)始攻擊人類，而這件事似乎在這個(gè)村莊的歷史上發(fā)生過(guò)。
摩斯拉
堺正俊,香川京子,Furank? Sakai,小泉博Shipwreck survivors are found on Beiru Island (Infanto t?), which was previously used for atomic tests. The interior is amazingly free of radiation effects, and they believe that they were protected by a special juice that was given to them by the island's residents. A joint expedition of Rolisican and Japanese scientists explores Beiru and discovers many curious things, including two women only one foot (30 centimeters) high. Unscrupulous expedition leader Clark Nelson abducts the women and puts them in a vaudeville show. But their sweet singing contains a telepathic cry for help to Mothra, a gigantic moth that is worshiped as a deity by the island people. The giant monster heeds the call of the women and heads to Tokyo, wreaking destruction in its path.
校花與野出租
袁帥,蔡蝶,孫逢苑,王怡蘇,孫小孟野出租司機(jī)雷小軍結(jié)識(shí)校花后的離奇經(jīng)歷。一個(gè)野出租屌絲男，意外地得到了校花的青睞，正當(dāng)兩人更近一步時(shí)，校花卻離奇失蹤了……
雙生2022
泰莉莎·帕爾墨,史蒂芬·克里,芭芭拉·馬滕,Tristan Ruggeri,Ergo Küppas瑞秋（泰莉莎·帕爾墨 Teresa Palmer 飾）和安東尼（史蒂芬·克里 Steven Cree 飾）本來(lái)?yè)碛幸粋€(gè)幸福的家庭，兩人共同撫養(yǎng)著上天恩賜給他們的一對(duì)可愛(ài)的雙胞胎，一家人生活在平和與其樂(lè)融融的氣氛之中。哪知道，一場(chǎng)突如其來(lái)的災(zāi)難在迅雷不及掩耳之際襲擊了這個(gè)家庭，雙胞胎中的哥哥不幸喪生，剩下的人則要體味無(wú)窮無(wú)盡的痛苦。 為了擺脫陰暗的過(guò)去，盡快走進(jìn)新的生活，瑞秋和安東尼決定舉家遷往寧江的鄉(xiāng)村小鎮(zhèn)，在那里修復(fù)這個(gè)支離破碎的家庭，誰(shuí)知道沒(méi)過(guò)多久，種種異象便發(fā)生在了幸存的弟弟艾略特（Tristan Ruggeri 飾）身上，艾略特告訴父母，死去的哥哥并沒(méi)有離開(kāi)，而是一直糾纏和困擾著他。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),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(yáng)·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.
大地1937
保羅·穆尼,路易絲·賴納,沃爾特·康諾利,蒂莉·洛施,查利· 格雷普韋恩,杰茜·拉爾夫,楊秀,陸錫麒,羅蘭·郭,Suzanna Kim,李清華,Harold Huber,奧拉夫·許滕,William Law,黃柳霜,安必立,Philson Ahn,Chester Gan,Betty Soo Hoo,James B. Leong,Bessie Loo,理查德·洛,Clarence Lung,阿瑟·馬克斯,查爾斯·米德?tīng)栴D,Miki Morita,Layne Tom Jr.,甘岱棠,Sammee Tong,I改編自賽珍珠的普立茲獎(jiǎng)小說(shuō)，是好萊塢在三十年代開(kāi)始注意東方題材的代表性作品。影片雖是描寫中國(guó)農(nóng)村夫婦的悲劇故事，但主角均由美國(guó)人扮演，導(dǎo)演悉尼．弗蘭克林也采取西方古典電影的風(fēng)格來(lái)處理，在制作上相當(dāng)嚴(yán)謹(jǐn)認(rèn)真。劇情描寫保羅．茂尼與路易絲．萊娜本來(lái)是貧困的農(nóng)民，面對(duì)饑荒的威脅甚至以烤土充饑。后來(lái)茂尼得到了一筆財(cái)富，竟整天花天酒地迷戀情婦，萊娜只有發(fā)揮賢妻的耐性期待丈夫浪子回頭。今天看來(lái)類似故事已顯得老套，但本片的拍攝與特技表現(xiàn)杰出，路易絲．萊娜亦獲得奧斯卡最佳女主角獎(jiǎng)。