　　尤哈（薩卡里·庫(kù)斯曼嫩 Sakari Kuosmanen 飾）和瑪利亞（卡蒂·奧廷寧 Kati Outinen 飾）是一對(duì)生活在幸福和平淡之中的老夫少妻，兩人住在他們經(jīng)營(yíng)的農(nóng)場(chǎng)里，離群索居不問世事。一天，一個(gè)名叫辛麥卡（安德烈·維爾姆斯 André Wilms 飾）的男人來(lái)到了農(nóng)場(chǎng)，他的車拋錨了。善良的尤哈邀請(qǐng)辛麥卡在農(nóng)場(chǎng)過夜，哪知道就此為自己找了個(gè)麻煩?！　≡瓉?lái)，辛麥卡是一個(gè)油嘴滑舌的花花公子，他花言巧語(yǔ)誘惑和哄騙了瑪利亞，最終，瑪利亞決定和辛麥卡私奔。然而，來(lái)到了大城市后，辛麥卡才露出了自己的真面目，他將瑪利亞賣到了一家妓院里替自己工作。當(dāng)尤哈得知了瑪利亞的近況后，他決定向辛麥卡尋仇。

精靈寶可夢(mèng)：冥王龍與冰空的花束雪米

松本梨香,大谷育江,豐口惠美,小櫻悅子,うえだゆうじ,林原惠美,三木真一郎,犬山犬子,小西克幸,山寺宏一,中川翔子,南明奈,中村獅童

“反轉(zhuǎn)世界”是存在于這個(gè)世界內(nèi)部的鏡子般不可思議的世界。那個(gè)美麗而規(guī)則的世界，是騎拉帝納棲居的特殊空間。然而帝牙盧卡和帕路奇犽的戰(zhàn)斗造成了時(shí)空的扭曲，“反轉(zhuǎn)世界”也因此完全被陰霾籠罩。由于自己的世界被污染而被激怒的騎拉帝納找到了帝牙盧卡，并想將其拖入反轉(zhuǎn)世界中。　　“現(xiàn)實(shí)世界”，在繼續(xù)旅行的小智和皮卡丘一行的面前出現(xiàn)了一個(gè)小小的，幾乎看不見的精靈。那是有“花媚”之稱的感謝神奇寶貝潔咪。被卷入帝牙盧卡和騎拉帝納的戰(zhàn)斗的潔咪在千鈞一發(fā)之際從反轉(zhuǎn)世界逃出。小智一行帶著精疲力竭的潔咪前往神奇寶貝中心。潔咪用心電感應(yīng)將小智一行帶到了它的“葛拉西蒂亞花(グラシデア)花田”，并告訴他們?cè)谶@“葛拉西蒂亞花”中隱藏著巨大的秘密。正準(zhǔn)備離開神奇寶貝中心的小智等人遇到了前來(lái)捕捉潔咪的火箭隊(duì)。而與此同時(shí)，神奇寶貝中心外的裝飾品的鏡面上出現(xiàn)了“次元旋渦”，將火箭隊(duì)、潔咪連同小智一行人一起全部帶往了反轉(zhuǎn)世界。　　從次元旋渦中脫出的小智一行人環(huán)顧四周，這里是倒立著一排排建筑物，空中處處漂浮著烏云的，廣大而不可思議的反轉(zhuǎn)世界。　　就在這時(shí)，騎拉帝納突然出現(xiàn)，向潔咪發(fā)動(dòng)攻擊。小智等人正要與騎拉帝納對(duì)抗，卻傳來(lái)制止之聲。說話者是名叫穆玄·葛雷斯藍(lán)多的學(xué)者，他告訴小智等人不可以讓騎拉帝納生氣。　　正在小智一行在穆玄·葛雷斯藍(lán)多的幫助下向現(xiàn)實(shí)世界回返之時(shí)，企圖利用騎拉帝納的力量支配世界的，駕駛著高科技母艦“百萬(wàn)力霸”的謎之青年，杰洛出現(xiàn)了。和潔咪一起繼續(xù)著探索花園之旅的小智一行沒能逃過杰洛的追蹤。　　前所未有的冒險(xiǎn)之旅的高潮，等待著你的是超越想像的“美麗奇跡”!

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.

日本的首領(lǐng)：完結(jié)篇

三船敏郎,菅原文太,大谷直子,佐分利信,片岡千惠藏 ,西村晃,山本由香利,佐藤慶,遠(yuǎn)藤太津朗,高橋悅史,二宮小夜子,渡邊文雄,仲谷升,金子信雄,小池朝雄,東惠美子,稻葉義男,小林稔侍,待田京介,真野玲,櫻町弘子,志賀勝,鈴木瑞穗,寺田農(nóng),安部徹

　　大石剛介（三船敏郎飾）升任關(guān)東同盟理事長(zhǎng)，與中島組佐倉(cāng)一誠(chéng)（佐分利信飾）勢(shì)均力敵，維持著表面的和平。但日本政界要員大山喜久夫（片岡千惠藏飾）因癌癥病倒，幾乎再次點(diǎn)燃兩派戰(zhàn)火。大山幸得一宮恭夫（高橋悅史飾）醫(yī)治死里逃生，因此號(hào)召幫派聯(lián)合，遭到兩派抵制?！　〈藭r(shí)塞班島開發(fā)項(xiàng)目成為抗?fàn)幍膶?dǎo)火索。中島組干部川西（菅原文太飾）為籌措資金，強(qiáng)令木村建設(shè)破產(chǎn)，并將木村之女獻(xiàn)給保守黨要員刈田（西村晃飾）。另一方面，大石拉攏刈田的兒子春男入伙，作為特使赴塞班島向美國(guó)官員行賄。大山暗示佐倉(cāng)除去大石，一場(chǎng)攪和了黑幫、政客、外國(guó)人的紛爭(zhēng)就此展開，而佐倉(cāng)似乎也朝日本首領(lǐng)的目標(biāo)又邁進(jìn)了堅(jiān)實(shí)的一步……

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