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迷妄國度4
Trupti Agarwal,Gaurav Arora,Ashwath Bhatt秘密是相愛的人之間最大的敵人，就像一顆定時炸彈，伺機等待毀掉美好的一切。瑞罕聽從沙伊娜的建議，為了更好的工作和生活離開印度再次來到羅馬尼亞，沙伊娜興高采烈的規劃著二人未來的生活，卻得不到瑞罕的贊同與支持，甚至爆發了更激烈的爭吵。沙伊娜隱約感覺瑞罕有心事卻不肯說，而更可怕的是沙伊娜漸漸的開始看見一些別人看不到的東西，甚至是莫名其妙的出現在距家幾十公里外的電話亭卻不自知。對于沙伊娜的恐懼，瑞罕卻不以為意。愈演愈烈的詭異行為究竟是沙伊娜的惡作劇，還是存在著可怕的操控者？適時出現的阿迪蒂亞這位前男友能否代替瑞罕拯救沙伊娜？相愛的兩個人又將面對怎樣的結局... ...
鬼影2025
Vino G. Bastian,Anya Geraldine,尼肯·安賈尼,唐尼·阿蘭西亞,安德里·馬沙迪,Rangga Nattra,Nugie,魯克曼·羅薩迪,Dewi Gita,Michelle Tahalea,Agus Mahesa,Iyang Darmawan,Angie Ang,Bayu T.,Megarita,Rinni Ruyono,Gabriella Cecilia,Widyawati,Dian Nova,Nesia Nuari達爾文是一名攝影師，他發現有個神秘女人總出現在自己的照片中。當這個幽靈般的身影開始在現實生活中顯現時，他的女友皮亞開始調查這個鬼魂的身份，最終發現它與一名名叫莉莉斯的前大學學生有關。當達爾文的朋友們開始陸續死亡時，皮亞懷疑這些鬼魂事件與達爾文的過去惡行有關。
爆水管
彭于晏,艾倫,周游,閆佩倫,楊皓宇,蔣雪鳴,付航,潘斌龍,卜鈺,張琪,黃炎,徐東,楊朕,楊晨汐,周彥辰,劉亦淳,普雷姆·亞達夫,景瓷,艾然一個東南亞小鎮中，卷王警察于大海（彭于晏 飾）起早貪黑，努力工作，讓小鎮連續7年維持0犯罪率。結果因為沒有案子，警察將被全員辭退，“鐵飯碗”成了“塑料碗”，為保住工作，于大海決定和隊友們一起造個大案。與此同時，真正的大案正在發生，前來投奔羅四季（艾倫 飾）的盜墓賊羅浩（周游 飾）、牛大輪（閆佩倫 飾）一家人，盯上了傳說中藏有寶藏的古墓，而這個古墓就在警局之下......
半身死靈2
巖田小百合,仲村美羽,長宗我部陽子,松島初音,真知里沙,山本彩乃,朝倉蜜柑,安藤成子,水木薫,川上洋一郎,大島優子經歷了最可怕的一段過去，可奈（大島優子 飾）已經精神接近崩潰，殘酷命運的安排，讓她最終也無法逃脫半身死靈“嗒卡嗒卡”的獵殺。路過事故現場的水谷菜月和中島玲子是就讀同一所高中同一班級的好友，她們的學校即將舉行文化祭。擔任文化祭委員的玲子無意中觸怒了班內小集團的頭頭刀根繪梨香，由此遭受了無休無止的孤立和欺凌。菜月看在眼里，卻不敢組織，只能隨波逐流。終于有一天，再也無法忍受的玲子將希望寄托在半身死靈身上，她將與繪梨香親近的同學相繼騙到人行天橋，目睹她們被獵殺的殘忍一幕。 菜月終于發現了好友的秘密，她嘗試阻止，并且了解到半身死靈的背景和不為人知的過去，可是為時已晚……
喂，應為
長澤雅美,永瀨正敏,高橋海人,大谷亮平,筱井英介,奧野瑛太,寺島忍葛飾應為生活在藝術幾乎完全由男性主導的江戶時代，盡管她是北齋之女，但仍作為屈指可數的女性畫師活躍于畫壇。她擁有連北齋都稱贊“在美人畫方面勝我一籌”的繪畫天賦，同時性格火爆、剛強、煙不離手，是個豪爽灑脫的女性形象。 《喂，應為》的主人公阿榮是北齋的女兒、得力助手，展現了驚人的繪畫天賦。她從父親那里獲得了“葛飾應為”這一畫號，這個名字源于北齋常常喊她“喂，飯來！”“喂，筆來！”等日常呼喚，“應”代表回應，“為”則有作為、成就之意，是從師父傳給弟子的名號，也是父親傳給女兒的象征。盡管她不會泡茶，也不擅長針線活，卻以繼承自父親的繪畫才華與膽識，在男性社會中闖出一條路。
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.