女傭

諾查丹瑪斯滅亡錄?基因的新世紀

新狂蟒之災

　　為了翻拍影史經典《狂蟒之災》，格里夫（保羅·路德 飾）和道格（杰克·布萊克 飾）成立史上最窮劇組！在唯一一條演員蛇因傷下線后，他們決定深入亞馬遜雨林捉蛇補位，卻意外遇上真巨蟒，原本滑稽混亂的片場瞬間淪為致命險境。在蛇口之下四處逃竄的他們，最終是會全員殞命還是順利殺青？

靈犀

野心勃勃的小鎮(zhèn)音樂家的表演視頻在網絡上火了，他想要抓住機會在樂壇占據一席之地，可這場追名逐利的游戲也許不是他能夠把握的。

太空孤航

　　宇航員雅各布（亞當·桑德勒 Adam Sandler 飾）獨自前往太陽系邊緣執(zhí)行科研任務，六個月后，他回到地球發(fā)現(xiàn)婚姻已經觸礁。而唯一能幫助他挽回妻子蘭卡（凱瑞·穆里根 Carey Mulligan 飾）的，竟然是潛伏在飛船內來自時間之初的神秘生物哈努什（保羅·達諾 Paul Dano 配音）。

愉快動物餅干電影版

本片以1978年開始發(fā)售就一直受到喜愛的點心“愉快動物餅干”為基礎制作，講述了以獅子為首，大象、河馬、猴子、小兔、小貓、長頸鹿、鱷魚、小雞，以及新角色天馬行空又哭又笑的故事，描寫了只有“可愛”這一優(yōu)點的他們，為了拯救世界滅亡的危機而奮斗的模樣。

假日旅館

 影片由一系列音樂片斷構成，由擅長歌舞巨片的馬克·桑德里區(qū)執(zhí)導。其中每一首插曲都以美國的節(jié)假日為線索，又都巧妙地集中到一對情敵的身上。本片獲1943年第15屆奧斯卡最佳編劇和最佳音樂獎提名！一家開設在公路邊的旅館，兩個年輕的合伙人哈迪和海諾沃同時愛上了一位姑娘。海諾沃（由著名舞蹈家弗雷德·阿斯泰爾飾）盡管在愛情的追逐中連連占先，但最終還是敗給了哈迪（由著名歌星賓·克羅斯比飾）。哈迪是位酷愛音樂的懶散的人，他退休回到新英格蘭農村，每逢節(jié)假日，他的農場就成了娛樂總會……

等待方舟

　　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.