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致命圍困
米莎·巴頓,黛博拉·卡拉·安格,卡梅隆·布萊特馬里斯特拉扎被稱為建筑界的藝術(shù)家和大師，他所設(shè)計(jì)的建筑被同行奉為典范。在某個(gè)，一幢馬里斯特拉扎的代表作拔地而起，然而這里卻發(fā)生了慘絕人寰的兇案。許多無辜之人被砌在墻壁中，澆筑水泥窒息而死，這幢大樓也從此廢棄。 15年后，年輕美麗的女拆遷工程師薩曼莎（Mischa Barton 飾）自學(xué)校畢業(yè)，她從父親手中得到拆毀那幢大樓的任務(wù)。薩曼莎獨(dú)自一人前來，在這里認(rèn)識(shí)了女管理員瑪麗?蘇特（Shannon Jardine 飾）和她的兒子吉米（Cameron Bright 飾）。從母子的口中，薩曼莎得知這幢大樓的一些禁忌，而在吉米的引導(dǎo)下，她逐漸發(fā)現(xiàn)這里陰暗的一面……
靚女差館
劉嘉玲,陳奕迅,林曉峰,王晶,張達(dá)明,李珊珊,何嘉莉,苑瓊丹,馬德鐘,李菲港島東區(qū)警署刑事偵緝組由Madam雷（劉嘉玲飾）率領(lǐng)，全組皆是女警，所以有“靚女差館”之稱。另一警局的警員生啤（陳奕迅飾）和沙爹（林曉峰飾）在一次行動(dòng)中，得由Madam雷率領(lǐng)的眾靚女CID幫忙而保存性命，對(duì)眾美女一見難忘，兩遂主動(dòng)申請(qǐng)調(diào)職，走后門調(diào)到靚女差館，以接近眾女警并展開追求。 生、沙二人身處美女群中，本應(yīng)十分過癮，可惜就在他倆加入之時(shí)，爆破專家火牛以炸彈恐嚇靚女差館，生、沙二人險(xiǎn)喪命，警署上下全體陷入炸彈奪命危機(jī)，眾靚女CID全力追緝炸彈狂徒……最后靚女CID得到前軍火專家博士（王晶飾）的幫助，得以化險(xiǎn)為夷，生、沙也在危難中始知自己最愛是誰，決頂改變追女習(xí)慣，并成功解救富豪被擄案件......
警察游戲
杰克·約翰遜,小達(dá)蒙·韋恩斯,羅伯·里格爾,妮娜·杜波夫,安迪·加西亞,詹姆斯·達(dá)西,科甘-邁克爾·凱,喬納森·拉舒沃,湯姆·馬迪羅沙,娜塔莎·賴格羅,麗貝卡·庫恩,約書亞·奧蒙德,布萊恩·歐爾利,杰夫·蔡斯這是一部終極警匪拍檔動(dòng)作喜劇，除了他們并不是真的警察。當(dāng)一對(duì)窮途末路的好兄弟選擇以警裝參加了一場(chǎng)化妝舞會(huì)后，他們成為了街坊鄰居的大人物。這對(duì)新崛起的英雄在面對(duì)真實(shí)世界的歹徒惡棍及游走黑白的貪污警探時(shí)，他們拿起假證件整裝備戰(zhàn)。
外出時(shí)刻
羅蘭·拉斐特,埃馬紐埃爾·貝克特,帕斯卡爾·格雷戈里,格雷戈里·蒙泰爾,安娜·盧瓦雷,Cyrille Hertel,盧安娜·巴杰拉米,Victor Bonnel,格林奇,托馬斯·西梅卡,蓋伊·托馬斯,Véronique Ruggia羅蘭·拉菲特([她])、艾瑪紐爾·貝克特([我的國王])主演新片[外出時(shí)刻]( L’heure de la sortie，暫譯)進(jìn)入拍攝后期。本片由塞巴斯蒂安·馬赫尼耶自編自導(dǎo)。故事講述皮埃爾因一位年輕老師自殺，作為填補(bǔ)進(jìn)入圣·約瑟夫?qū)W院工作。他很快發(fā)現(xiàn)這里青少年散發(fā)著一種敵意。本片預(yù)計(jì)8月2日殺青。
昭和殘俠傳
高倉健,池部良,三田佳子出演 : 高倉健／池部良／三田佳子／松方弘樹／梅宮辰夫／菅原謙二／室田日出男 監(jiān)督 : 佐伯清 終戦直後の淺草。戦地から戻った神津組の寺島は、露天商街の縄張り?duì)帳い樾抡\會(huì)と対立。やがて縄張り?duì)帳い霞せ贰⑺聧uは客人の風(fēng)間と共に新誠會(huì)に毆り込みをかける…。 高倉健の主演で人気を博した「昭和殘俠伝」シリーズの第1作目。敵方の青年との対立と不思議な友情を交え、若き熱血親分の活躍を描く娯楽任俠映畫。瓦礫だらけの街から、悪を根絶やしにするため、熾烈な戦いが繰り広げられる。ヒロインは三田佳子。シリーズに欠かせない池辺良もいい味を出している。毆り込みのシーンで流れる、高倉健自らが歌う「唐獅子牡丹」も大ヒットした。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),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(yáng)·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.