劇情簡介
一個受保護的年輕女子搬到城市上大學。在那里，她對一個更加成熟和公開性感的女人著迷。她的感情不知所措，她踏上了一段情感和性旅程，最終將她從過去中解放出來。
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留校聯盟
保羅·吉亞瑪提,多米尼克·塞薩,達明·喬伊·倫道夫,卡麗·普雷斯頓,布雷迪·赫普納,伊恩·多利,吉姆·卡普蘭,邁克爾·普羅沃斯特,安德魯·加曼,納希姆·加西亞,斯蒂芬·索恩,吉蓮·韋格曼,泰特·多諾萬,達比·莉莉·李-斯塔克,比爾·穆托斯,達斯汀·塔克,胡安妮塔·珀爾,亞歷山大·庫克,利茲·畢曉普,科爾·特里斯坦·墨菲,威爾·薩斯鮑爾預科學校巴頓學院的老師保羅（保羅·吉亞瑪提 飾）不太受歡迎，不管是學生、老師還是校長，都不太喜歡他，他們覺得他浮夸又僵化。在1970年的圣誕假期，保羅留在了學校監督無法回家的學生。幾天后，只有一個學生留了下來——一個名叫安格斯的15歲搗蛋鬼，他是一個被不良行為破壞的好學生，總是在被開除的邊緣試探。與保羅和安格斯一起留下的還有學校廚師長瑪麗，一個為特權階層的兒子們提供服務的非裔美國婦女，她自己的兒子最近在越南失蹤了。這三個截然不同的失意者組成了一個奇怪的圣誕家庭，在新英格蘭大雪紛飛的兩個星期里，分享著不幸經歷，并意識到他們中沒有人感謝自己的過去。
花月佳期電影版
吳奇隆,楊采妮,葛民輝,張庭,何家駒,劉洵,黎彼得,黃一飛江繼威（吳奇隆飾）和洪欣欣（楊采妮飾）同在七夕節去月老廟求姻緣，江繼威對外表清純的張小盈（張庭飾）一見鐘情，卻因失神撞了想要偷拿紅繩的欣欣，惱火的欣欣旋即對其展開“報復”行為，兩人變成見面就吵的冤家。 兩星期后，欣欣在戲臺上吊嗓時，卻看見了江繼威的鬼魂，原來江繼威上了張小盈的當，被卷入搶劫案中繼而被滅口。不甘心的江繼威借助電線回到陽間，且歪打正著跑到欣欣所在的劇院。他希望欣欣可以幫他回到過去，挽回自己被殺的命運。欣欣最終經不住江繼威的懇求，和他一起回到了兩星期前。
婚姻故事
斯嘉麗·約翰遜,亞當·德賴弗,勞拉·鄧恩,艾奇·羅伯遜,梅里特·韋弗,阿倫·阿爾達,朱莉·哈格蒂,雷·利奧塔,馬克·奧布萊恩,華萊士·肖恩,凱爾·博恩海默,米奇·薩姆納,馬修·馬希爾,羅伯特·斯密戈爾,艾登·梅耶里,布魯克·布盧姆,瑪莎·凱莉,阿爾伯特·瓊斯,漢娜·鄧恩,桑德拉·羅斯科,麥金利·貝爾徹三世,戈登·格里克,馬修·希爾,阿米爾·塔萊,薩拉·瓊斯,文尼·希伯,胡安·阿方索,洛蕾塔·謝諾斯基,滕德·艾德比佩,賈思敏·西法斯·瓊斯講述了結婚多年并育有一子的戲劇導演查理和女演員妮可因工作分居而不得不走向離婚，在這場為了爭奪撫養權的離婚拉鋸戰中，關于愛情、婚姻和家庭真實感人的細枝末節牽動人心。兩人的關系又將何去何從？
獵殺杰西卡·布洛克
Danica De La Rey Jones,塔梅爾·伯賈克,安東尼·奧塞耶姆,Vaughn LucasA retired special forces agent must battle a group of vengeful psychopaths and the African wilderness to get back to her daughter.
攻克柏林
米凱爾·蓋洛瓦尼,Boris Andreyev,Vladimir Savelev,Marina Kovalyova,N. Petrunkin,Marie Nováková,Yuri Timoshenko,A. Urasalyev,Nikolai Bogolyubov,揚·韋里希,Sofiya Giatsintova,K. Roden,鮑里斯·捷寧,維克托·斯坦尼岑,Oleg Frelikh,鮑里斯·里瓦諾夫,謝爾蓋·比林尼科夫,Vladimir Lyubimov,Konstantin BartasheviMikheil Chiaureli是斯大林的御用導演，《攻克柏林》長達近五個小時，分上下兩部，處處著重突出最高統帥的高瞻遠矚。影片結尾，斯大林乘飛機抵達陷落的柏林，接受蘇軍的歡呼。其實這是“藝術虛構”。和《斯大林格勒戰役》一樣，這場實際主要由朱可夫將軍指揮的戰役，影片中絲毫沒有他的影子。當時朱可夫已經因為功高震主，被羅織罪名，發配到烏拉爾軍區去了，這是1946年的事。這部1949年的電影很自然地就將朱可夫的功勞“藝術虛構”到偉大領袖的頭上了。 因為這部影片，導演連續獲得了兩次國家獎金，包括1950年的斯大林獎金。中國觀眾熟悉的《難忘的1919》（1952）也是出自這位導演的手筆。值得一提的是，這兩部影片都是由蘇聯作曲家肖斯塔科維奇譜曲的。
解決專家
黃才倫,邱意濃,林子聰,許詩晨,王瀚邦,王人可,文東俊,岳冬峰,劉奕心,阿蒂婭,劉海涵,解斯童“解決專家”衣然英俊遇到羅師傅上門求助，羅師傅因跌打油遭誣告，其妹雙雙、盈盈為幫兄私自參加高顏獎金選美。衣然英俊攜老孫、羅師傅追至賽場，與羅妹及中國選手徐菲組隊，闖叢林、破廟宇機關，最終揭穿比賽的陰謀，助羅師傅渡過難關。
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.