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無懼之愛
協(xié)塔朋·平朋,翁韋德·答奴翁,安蘇瑪琳·瑟拉帕薩默莎,卡維·丹扎拉嵐,索姆查·肯格拉,????????????? ???????當(dāng)他們假裝還愛著對方的時候，YouTube上的“丁”和“寶石”情侶?在正式分手前，這對夫婦為了最后一篇內(nèi)容而放棄了鉆石戒指的主要制造商。直到我遇到了一位著名的“完美”生活教練，他利用孩子作為謀生手段，并打算從妻子那里獲得監(jiān)護權(quán)，他們?nèi)齻€別無選擇，只能互相幫助來完成這次營救任務(wù)。當(dāng)車開走的時候，突然，這個可怕的神秘人從黑暗中冒了出來，導(dǎo)致他的車出了事故，無法繼續(xù)前進，他自告奮勇地把這三個人帶到一個偏遠的玉米地的廢棄房子里過夜。面對“Mahathirachai”，一個邪惡的鬼魂，包括房子里的居民，他們既看不見，也看不見。起初，他們認(rèn)為這所房子里的鬼故事都是由幻象引起的，但當(dāng)他們發(fā)現(xiàn)每個人都和一個來自前國家的鬼魂有關(guān)時，他們花了幾百年的時間想要從他們那里得到一些東西!
初始者
什恩·卡魯斯,大衛(wèi)·蘇利文,卡西·古登,Anand Upadhyaya,Carrie Crawford,Jay Butler,John Carruth,Juan Tapia,Ashley Warren,Samantha Thomson,Chip Carruth,Delaney Price,Jack Pyland,Keith Bradshaw,Ashok Upadhyaya,Brandon Blagg,Jon Cook,David Joyner,Eric De Soualhat獲得第24屆圣丹斯電影節(jié)劇情片類評委會大獎的《雷管》，講述的是四位合作者出于興趣發(fā)明了一臺查錯儀器，卻意外地發(fā)現(xiàn)這臺儀器擁有強大的商業(yè)價值，最終四人相互爭斗的局面。《雷管》是導(dǎo)演什恩-卡魯斯(ShaneCaruth)首次執(zhí)導(dǎo)的劇情長片，該片由他自己投資，并身兼編劇、導(dǎo)演、主演數(shù)職，體現(xiàn)出獨立電影的“DIY”精神。另外，令人津津樂道的是該片不足7000美元的超低制作成本，只相當(dāng)于一輛富康車的價錢……
我的老婆是明星
周柏豪 ,劉心悠,林德信,蔡潔,蔣志光,李尚正,郭偉亮,葉佩雯,朱薰,李日朗,杜德偉,連詩雅,盧海鵬,林盛斌,邵美琪,車婉婉,莊鍶敏,田啟文,趙碩之,古天祥,符曉薇,黃文慧,余慕蓮,王曉君,李潤庭,可宜朱淇（劉心悠 飾）一直以來都希望成為一名演員，然而，在娛樂圈摸爬滾打浸淫多年，始終缺少一點運氣的她卻依然只能在劇中混得一個跑龍?zhí)椎男〗巧Ｒ淮闻既恢?，電影公司的大老板杰夫（林德?飾）看中了朱淇，欽點她做一部炒得十分紅火的賀歲片的女主角，朱淇興奮之余害怕自己已婚的身份會影響星途，于是決定隱瞞這一事實?！ ≈熹康恼煞蛸嚸ㄖ馨睾?飾）是一名娛樂記者，為了老婆的前途著想，他只能不情不愿的配合著朱淇的腳步。然而，隨著朱淇的走紅，賴毛發(fā)現(xiàn)自己和老婆之間的距離越來越遠，不禁心生疑慮，潛伏劇組之后方才發(fā)現(xiàn)朱淇和杰夫之間竟然有著撲朔不明的曖昧關(guān)系。
死亡陰影
邁克爾·比恩,亞歷山德拉·達達里奧,布雷特·里克比,諾蘭·杰拉德·馮克,斯賓塞·李斯特,約翰·薩維奇,佩頓·李斯特,凱瑟琳·邁瑟爾,瓦倫蒂娜·德·安吉麗斯1989年，位于賓夕法尼亞州的東部礦區(qū)麥諾斯維爾小鎮(zhèn)，年僅6歲的小男孩馬丁·布里斯托爾（蔡斯·佩哈切克 Chase Pechacek 飾）被人綁架。在此后的5年里，馬丁身在何處？又經(jīng)歷了什么？無人知曉。 1994年的一天，父母雙亡的少女艾莉森·米勒（亞歷珊德拉·達達里奧 Alexandra Daddario 飾）隨叔叔喬納森（邁克爾·比恩 Michael Biehn 飾）搬到麥諾斯維爾居住。這個出身大城市的女孩漸漸適應(yīng)了這個偏遠鄉(xiāng)間的生活，也結(jié)識了帥氣的男孩威廉（諾蘭·吉拉德·范克 Nolan Gerard Funk 飾）。但是新生活的陽光很快退去，那幢廢棄的農(nóng)舍引起了艾莉森注意。她不知道，失蹤已久的馬丁也在黑暗中注視著他，這個男孩過早地見識了事件最為殘酷與血腥的一面……
金剛的逆襲
寶田明,羅茲·利森,濱美枝,琳達·米勒,天本英世60年代的日本人似乎對這個大黑猩猩情有獨鐘，在玩遍了各種哥斯拉的故事之后，依然將金剛的神奇遭遇不停地向人們展示、炫耀。光看他的故事就能讓人嚇一跳：科學(xué)家制造出了一個機械金剛，用來在北極挖掘神秘的X元素，與此同時邪惡的博士綁架了真正的金剛，令其干同樣的活，因此，機械金剛與原形之間的連番惡斗就在所難免了。
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.