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肖戰,彭昱暢,周依然,楊新鳴,阿如那,甘昀宸,周思羽,嚴知度,尹正,祖峰,廖凡,許君聰,江奇霖,任程偉亭亭鳳凰臺
張秋歌,陳友旺,董濤,王瀚邦,周顯欣,梁琛,王曦瑤旅途中的日子
沈恩敬,堤真一,河合優實,高田萬作,佐野史郎,齊藤陽一郎,松浦慎一郎,足立智充,梅舟惟永,柴田貴哉,中村祐太郎,貝拉·梅友情的游戲
貝拉·索恩一線希望
扎克瑞·萊維,喬什·杜哈明,昆汀·普萊爾,泰倫斯·特雷爾,馬歇爾·庫克,喬貝茲·威廉姆斯,弗羅瑞安娜·利馬,杰西卡·布萊克莫爾,普里亞·賈恩,詹姆斯·馬丁·凱利,施特菲·塔凱,Armida Lopez,里森·亞歷山大,Chris Dingli,Davina Reeves,Edward De Gaetano,Tucker Sparkman,杰·佩斯,George C. Owens得閑謹制
肖戰,彭昱暢,周依然,楊新鳴,阿如那,甘昀宸,周思羽,嚴知度,尹正,祖峰,廖凡,許君聰,江奇霖,任程偉同類推薦
開端2025
崔娜·蒂虹,大衛·丹席克,比約克·斯托姆,Luna Fuglsang Svelm?e,約翰·路易斯·施密特,Christine Gjerulff,Hanne Uldal,庫爾特·德萊耶,Christopher Nallo,Frederik Malmose,Josva Engedal Jacobsen,Klaus S?ndergaard,Andrea Enerstad Bolle,Alvin Burs?e,Karen Marie Holst Gudichsen,Noora Sofie Hjorth Biil安妮和托馬斯正處于離婚邊緣,這時安妮發生了中風,迫使他們不得不繼續住在一起,并推遲了告訴孩子們他們即將分開的消息。面對這一新的現實,兩人在最意想不到的地方找到了希望。
妖獸都市
黎明,李嘉欣,仲代達矢,張學友,張耀揚,李若彤,袁和平,葉山麗子故事發生在未來世界,阿龍(黎明 飾)和阿強(張學友 飾)都是抓捕妖獸的特警隊警員,但是上司(袁和平 飾)非常器重阿龍,而對阿強就戒心重重。阿強氣不過在酒吧買醉,得到了女友(李若彤 飾)的支持寬慰。然而,他心頭總是籠罩著陰影——原來阿強的母親也是妖獸,后來他把這個隱秘告訴了阿龍。阿龍也坦白了自己跟妖獸幻姬(李嘉欣 飾)的一段感情…… 此后,阿龍在一次抓捕元大宗(仲代達矢 飾)的行動中,重逢了現已成為元妻的幻姬,情急之下卻要引出重重誤會。其實,元大宗是要跟人類合作的妖獸,但是另有一股液態妖獸正在肆虐地侵襲這個城市。在對抗液態妖獸的過程中,阿龍與幻姬的感情經歷了生死的考驗,但是元大宗的兒子鬼眾道(張耀揚 飾)卻設計離間意圖消滅人類,與此同時阿強也發現了特警隊的叛徒……
三天
樸新陽,李民基,李來樸信陽飾演父親車勝道(音譯),李民基(李暋起)飾演潘神父(姓為音譯)。 該片講述在為女兒舉辦葬禮的三天時間中,與寄生在死去女兒心臟中突然蘇醒的惡魔進行斗爭的超自然電影。
阿里
安德拉尼克·馬奈,帕斯卡爾·雷內里克,Théo Delezenne,Ryad Ferrad,伊娃·拉利耶,Lomane de Dietrich,Mikael Don Giancarli,克萊芒絲·庫隆,Fabio Caron,Audrey Bonnet,克萊爾·博德森,蘇菲?卡達尼,Alphonso Scavo,Immanuelle Shékina,Isaure Bony Agoua,Melvil de Waegenaire,Tom Menanteau,Alexandre Auvergne,Serena阿里曾是一位年輕的教師,他辭去了工作,卻被父親無情地趕出了家門。在感到迷茫和孤獨之際,他重新找到了舊友,這一舉動觸發了他一段深刻的自我探索之旅。
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.