切莉，哈莉和拉奎爾！

領(lǐng)養(yǎng)驚魂

約翰·庫薩克,蕾切爾·勒費(fèi)夫爾,瑞恩·菲利普,路易斯·古茲曼,杰基·韋佛,伊莎貝拉·阿德里亞尼,Blas Diaz

　　史蒂芬（瑞恩·菲利普）與莎倫（蕾切爾·李費(fèi)佛）來到波多黎各，打算接走通過中介收養(yǎng)的海地小女孩妮娜。他們?cè)诼灭^結(jié)識(shí)了穿著防風(fēng)衣，頭發(fā)亂糟糟的本杰明（庫薩克）。六萬元的費(fèi)用付出手，妮娜卻突然失蹤，領(lǐng)養(yǎng)中介的工作人員不翼而飛，網(wǎng)站也無法打開……　　當(dāng)?shù)鼐旄嬖V他們，兩人是中了釣魚詐騙的圈套，以收養(yǎng)孩子為誘餌，拿到收養(yǎng)費(fèi)后就把孩子帶走，再去尋找下一個(gè)受害人。然而夫婦倆的厄運(yùn)還沒完，本杰明似乎是看準(zhǔn)了兩人是條大魚，把他們監(jiān)禁起來，要榨光他們所有的積蓄。

志愿軍：浴血和平

張子楓,宋佳,朱亞文,陳飛宇,彭昱暢,肖央,王硯輝,郭濤,王傳君,周政杰,張宥浩,吳昊宸,王挺,郭曉東,李晨,杜江,馮紹峰,閆妮,阿如那,曲禾,王雨甜,于謹(jǐn)維,王陽,張雪迎,劉軍,朱一龍,辛柏青,袁凱,梁靖康,于清斌

　　電影《志愿軍》三部曲系列終章《志愿軍：浴血和平》聚焦抗美援朝第五次戰(zhàn)役后直至簽署停戰(zhàn)協(xié)議期間“邊打邊談”的作戰(zhàn)歷程。前線戰(zhàn)斗血火交鋒，談判桌上唇槍舌劍，面對(duì)敵人的一再挑釁，中華兒女合力反擊，誓要奉陪到底，經(jīng)過747天的抵死奮戰(zhàn)，終于打破了美軍不可戰(zhàn)勝的神話，搏來了期盼已久的和平。

虎紋少女

扎芙林·宰麗扎爾,迪娜·埃茲拉爾,碧卡,莎黑茲·薩姆,郡·洛瓊,海魯納茲萬·羅德茲伊,Fatimah Abu Bakar

　　故事一開始，我們見到了12歲的扎凡（扎芙林·宰麗扎爾 Zafreen Zairizal 飾），一個(gè)叛逆而無憂無慮的女孩。然而，她的身體開始發(fā)生可怕的變化，而她卻試圖否認(rèn)和掩飾這些變化，希望在學(xué)校里保持正常的生活。隨著朋友們對(duì)扎凡的排擠和攻擊，情節(jié)逐漸升級(jí)，達(dá)到了一個(gè)臨界點(diǎn)，整個(gè)學(xué)校陷入恐慌?！　W(xué)校里關(guān)于廁所里藏著一個(gè)暗影的傳說加劇了恐懼氛圍，而一位自告奮勇的醫(yī)療官?zèng)Q定趕走困擾眾人的惡魔。醫(yī)療官很快發(fā)現(xiàn)扎凡可能是問題的根源，打算為她進(jìn)行驅(qū)魔。扎凡的內(nèi)心狀態(tài)宛如一只被拖出棲息地的受驚老虎，她最終決定向眾人展示真實(shí)的本性，包括憤怒、狂暴和美麗。這可能是一個(gè)關(guān)于接受自己真實(shí)面貌的故事，同時(shí)也涉及到對(duì)于社會(huì)標(biāo)準(zhǔn)和期望的反抗。

諸葛四郎-大戰(zhàn)魔鬼黨

王辰驊,蔣鐵城,王希華

　　傳說龍鳳雙劍合璧，能有無比神力。魔鬼黨首領(lǐng)笑鐵面覬覦桂王手中鳳劍寶劍，桂國陷入危機(jī)。諸葛四郎受託挺身而出，竟遭受真平的復(fù)仇挑釁，諸葛四郎腹背受敵。困境中英雄勇敢集結(jié)，和魔鬼黨展開搶奪寶劍大戰(zhàn)。諸葛四郎與魔鬼黨，到底誰會(huì)搶到那支寶劍？※本片可切換國語、臺(tái)語發(fā)音，另有客語發(fā)音版

無處釋放我

杰瑞米·艾倫·懷特,杰瑞米·斯特朗,保羅·沃爾特·豪澤,斯蒂芬·格拉漢姆,奧黛莎·楊,馬克·馬龍,蓋比·霍夫曼,大衛(wèi)·克朗姆霍茨,格蕾絲·古默,哈里森·吉爾伯特森,約翰尼·坎尼扎羅,琳恩·A·弗里德曼,斯蒂芬·辛格,伊萬·阿馬羅·布隆,莎拉·斯洛博達(dá),克里斯托弗·杰伊姆斯,格雷格·普朗科,克雷格·杰拉蒂,阿拉貝拉·奧利維婭·克拉克,洛蕾娜·奧斯塔

　　影片聚焦布魯斯·斯普林斯汀打造1982年的著名專輯《Nebraska》時(shí)期，作為年輕音樂人的他努力應(yīng)對(duì)成功的壓力，和令人困擾的過往。

美人魚村

梁家仁,于函冰,臧志中,朱鐵和,李健仁,鐘偉強(qiáng),于夏沫

　　本片是一部跨越百年的愛情傳奇故事。講述了安宇廷因?yàn)楹闷嫘尿?qū)使陰差陽錯(cuò)地來到桃源村，從而在桃源村經(jīng)歷了種種奇遇看到美人魚，最后與村民一起同來傷害美人魚的惡勢(shì)力作斗爭(zhēng)，并最終取得勝利......

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.