色迷嬉春
《色迷嬉春》线上看,由黃一展导演,嵐依鳳,白雨辰,林佳莉等演员领衔主演,影片主要讲述了,色迷嬉春"
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超乎想象2
丹尼斯·奎德,阿莉尔·凯贝尔,米洛·文堤米利亚,索菲亚·斯凯尔顿,乔比·詹姆斯,特雷斯·阿德金斯,约书亚·巴塞特,安赫拉·约翰逊,杰森·伯基,Del Sable,艾比·格洛弗,萨米·戴尔,妮可儿·德伯特,兰迪·麦克道维尔Bart Millard, lead singer of MercyMe, faces a personal crisis at the peak of his success. As his world unravels, he struggles with his beliefs and inner demons while seeking a path through adversity.
敌对维度
Stephen Beavis,Cedric Gall,Graham Hughes,Paddy Kondracki,Annabel Logan,Lucy the Dog,Josie Rogers,Andy Stewart,Joma West讲述了两位纪录片制作人决定调查一位涂鸦艺术家的失踪事件。随着调查的深入，这两位制作人遭遇到了一扇诡异的凭空出现的木门，这扇门引领他们穿梭于不同的空间，同时开启了一段黑暗的噩梦之旅。本来只是调查失踪事件的两人很快便意识到，自己陷进了超乎想象的可怕旋涡之中...
恐怖列车
索拉·伯奇,吉迪恩·埃默里,卡凡·瑞斯,Derek Magyar,格罗瑞亚·沃特西斯,Todd Jensen,Vladimir Vladimirov五名美国业余摔跤选手艾历克斯（Thora Birch 饰）、托德、克莱尔、威利、谢尔顿，在教练带领下远赴东欧参加摔跤比赛，虽然他们输掉了比赛，但当晚仍兴致勃勃参加了派对，以致耽误了第二天开往敖德萨的火车，由于语言不通，他们一时买不到车票，一位说英语的金发女郎出现，带领他们登上了车站内的一列红色火车。 甫一上车，队员们的护照便被形容猥琐的男乘务员收去，这列经过改装的列车上赌场、餐车、休息室一应俱全，队员们很快远离其他语言不通的乘客，躲在休息室玩起了真心话大冒险，然而在游戏进行的过程中，托德消失在列车尾部，其他队员也一一失踪，艾历克斯很快发现，她要独自面对车上的几个活体器官摘除者……
恐影档案
Thomas Dekker,Robert Englund,Fiona DourifA doctor works to cure patients suffering from crippling phobias by placing them inside his invention which induces and controls hallucinations.
罗莎夫人
西蒙·西涅莱,Samy Ben-Youb,米莎尔·巴特阿达姆,Gabriel Jabbour,热蕾耶·丰塔内拉,克洛德·多芬故事发生在巴黎阿拉伯人和犹太人聚居区，那里有许多妓院。上了年纪、体弱多病的犹太妇女罗莎，负责照顾一群妓女所生的孩子，而她自己过去也曾当过妓女，并在纳粹集中营度过一段可怕的时光。影片主要表现罗莎夫人与她所照顾的一个阿拉伯男孩令人感动的关系。
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.