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丧尸特警
特里特·威廉斯,乔·皮斯科波,琳赛·福斯特,达伦·麦克加文,文森特·普莱斯,克莱尔·科克奈尔,陆锡麒,罗伯特·皮卡多,梅尔·斯图尔特,田中徹,Martha Quinn,Ben Mittleman,Peter Kent,Cate Caplin,莫妮卡·里维斯两位壮汉刑警在调查一起银行劫案时，发现犯罪分子居然个个刀枪不入。根据线索，他们找到一家公司，似乎最近的很多案件都和这家公司的一个秘密实验室有关。后来，此两位硬汉在与犯罪分子的斗争中不幸相继殉职，但这恰好给他们创造了机会——两个人亦成为试验品，他们的尸体即将被一个怀揣着极大阴谋的邪恶博士所利用……然而，哼哼，英勇的人民公安是不会向犯罪集团低头的，you can't keep a good cop dead！
上身
田牧童,刘述,郭星显,黄伊伊,周炎同居男友许一恒遭遇事业难关，此时女友成心不但发现自己怀了孕，还获知许一恒跟闺蜜马可好上了，而马可家境殷实，能够帮助他渡过绝境。成心因为深爱，选择成全，离开许一恒，并做了人流手术，不料这胎儿竟成了“婴灵”点点。后来点点决定“带走”成心，慧化大师用佛法感化点点，并将其“交给了佛”。不久成心再受邪祟之扰，点点冒险回来搭救，也还原了真相……借此告诫切莫轻易堕胎，佛门有曰“五逆重罪”，堕胎必是冤孽。
用武之地
肖央,齐溪,任达华,郑恺,潘斌龙,法提,奥黛丽·欧塔维阿诺影片取材自境外幸存人质真实自救经历。 驻外记者马笑（肖央 饰）和志愿医生潘文佳（齐溪 饰）夫妇，陪同工程师苗峰（郑恺 饰）赴郊区修理基站，当地局势突变。三人一路躲避恐怖组织的无差别袭击，最终还是被绑架沦为人质，并在狱中结识了华侨商人周伟杰（任达华 饰）。面对恐怖分子闻所未闻的屠杀暴行和以命换钱的勒索，他们历经105天，展开了一场惊心动魄的自救逃生。
我爱777
舒淇,天心,谭耀文,杨恭如占士邦（谭耀文 饰）长得一表人才又颇具才干，是广告行业内出了名的花花公子。因为对感情缺少信任，年岁渐长的他依旧保持单身，在内心里，他一直希望能够出现一个“完美的女人”，捕获他的真心。 最近，占士邦在工作上遇到了点麻烦，他需要策划一支啤酒广告，却苦于没有灵感。就在这个节骨眼上，仿佛是上天赐给他的礼物，一个神秘的女子茱莉亚（舒淇 饰）出现在了占士邦的生活之中，只是，当占士邦开始注意到茱莉亚之时，她早已经消失的无影无踪。茱莉亚的冷艳与神秘带给了占士邦灵感，工作上的问题迎刃而解，与此同时，占士邦亦对茱莉亚的真身产生了兴趣。
微笑的山谷
米凯莱·里翁迪诺,罗马纳·马乔拉·韦尔加诺,Giulio Feltri带着过往伤痛，塞吉欧只身一人前往「微笑之村」担任代理教师。这座对负能量零容忍的小镇，明明曾遭逢巨变，居民们却笑口常开。原来，让这座微笑之村风光明媚的秘方，是一位能吸取人间苦痛的男孩，他的身体如祭坛，透过拥抱承担全村的悲伤。他为人搭建快乐天堂，自己却陷入无尽黑暗。塞吉欧与男孩的相遇，搅乱了镇上的平衡；那座炼狱之门，也终将反向人间敞开。
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.