無顏之月

沼澤怪物1982

路易斯·喬丹,阿德里安娜·巴比歐,雷·懷斯

　　一名科學(xué)家在實(shí)驗(yàn)中不小心沾到了一種具有快速成長特性的化學(xué)液體，不久，他就變成了半人半獸的水怪。這時(shí)，野心分子也想獲得這種具有快速成長特性的化學(xué)液體的秘密公式，他們遂派員追殺持有科學(xué)家記事本的電子專家。后來他們發(fā)現(xiàn)了這名科學(xué)家的下落，終于在沼澤區(qū)這幫野心分子跟科學(xué)家變成的水怪展開了決斗。這是一部滑稽可笑的科幻動(dòng)作片，水怪的化妝和服裝都顯得愚笨而不能入信，對白亦平淡乏味，整部影片露出了低成本制作的粗糙感

昭和殘俠傳 唐獅子牡丹

高倉健,三田佳子,池部良,津川雅彥

　　タイトル : 昭和殘俠伝: 唐獅子牡丹（期間限定生産）（生産完了）　　出演 : 高倉?。锛炎樱虼ㄑ艔夭苛迹J田伸介／菅原謙二　　監(jiān)督 : 佐伯清　　不始末をしでかした弟分を助けるために、花田秀次郎は左右田組の組頭の要求を飲み、榊組の組頭を手にかけた。法の裁きを受け服役した秀次郎は、3年後に出所を果たす。だがそこで秀次郎が目にしたのは、秀次郎の手によって組頭を失い、瀕死の狀態(tài)に追いやられてしまった榊組の姿だった。左右田組の執(zhí)拗な攻撃に耐えて組を守る未亡人の姿に心を打たれた秀次郎は、みずからの負(fù)い目もあって、榊組を助けることにするのだが…?！　「邆}健の代表作の一つである「昭和殘俠伝」シリーズの2作目。渡世の義理ゆえに、心ならずも斬り倒した相手の未亡人に捧げる愛情と、敵対しつつも育まれていく男の友情を描いている。監(jiān)督はシリーズの大半を手がけてきた佐伯清。若き日の高倉健が、渡世に生きるやくざを凄みたっぷりに演じている。榊組の美しき未亡人に扮するのは三田佳子。

溫德爾和懷爾德

科甘-邁克爾·凱,喬丹·皮爾,利麗克·羅斯,安吉拉·貝塞特,吳漢章,文·瑞姆斯,雷蒙娜·楊,娜塔麗·馬丁內(nèi)斯,坦圖·卡丁諾,艾格爾·納爾,加布里埃爾·丹尼斯,大衛(wèi)·哈雷伍德,瑪克辛·皮克,Sam Zelaya,Seema Virdi,Michele Mariana,Gary Gatewood,Tamara Smart

　　創(chuàng)意鬼才亨利·塞利克和制片人喬丹·皮爾這次帶來動(dòng)畫《惡魔兄弟》，講述了狡猾的惡魔兄弟溫德爾（科甘-邁克爾·凱配音）和瓦爾德（皮爾配音）向凱特·艾略特（一名被負(fù)罪感支配的堅(jiān)強(qiáng)少女）求助，希望她能將他們召喚至人間。但與之相對的，凱特也提出要求，進(jìn)而引發(fā)了一場奇異無比、笑料百出的獨(dú)特冒險(xiǎn)。影片全篇采用定格動(dòng)畫的手工藝術(shù)進(jìn)行制作，是一部無視生死法則的動(dòng)畫狂想曲。

我的朋友安德烈

劉昊然,董子健,殷桃,韓昊霖,遲興楷,董寶石,寧理,雷佳音,章若楠,張宥浩,薛寶鶴

性格迥異的李默（劉昊然 飾）與安德烈（董子健 飾）因?yàn)樽闱虺蔀橹?，而一場意外卻讓安德烈跟隨年少往事一起消失在了李默的記憶中。多年后，李默在為父親奔喪路上與安德烈“重逢”，一段塵封的回憶被逐漸揭開……                                                                      　　電影改編自雙雪濤的同名小說《我的朋友安德烈》。

無論如何我愛你

 這部精美的動(dòng)畫短片由編劇/導(dǎo)演威爾·麥柯馬克和邁克爾·戈維爾聯(lián)手打造。在悲劇發(fā)生后，一對父母失去了孩子，傷心欲絕的他們要面對隨之而來的失落感。

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.

爆水管

彭于晏,艾倫,周游,閆佩倫,楊皓宇,蔣雪鳴,付航,潘斌龍,卜鈺,張琪,黃炎,徐東,楊朕,楊晨汐,周彥辰,劉亦淳,普雷姆·亞達(dá)夫,景瓷,艾然

一個(gè)東南亞小鎮(zhèn)中，卷王警察于大海（彭于晏 飾）起早貪黑，努力工作，讓小鎮(zhèn)連續(xù)7年維持0犯罪率。結(jié)果因?yàn)闆]有案子，警察將被全員辭退，“鐵飯碗”成了“塑料碗”，為保住工作，于大海決定和隊(duì)友們一起造個(gè)大案。與此同時(shí)，真正的大案正在發(fā)生，前來投奔羅四季（艾倫 飾）的盜墓賊羅浩（周游 飾）、牛大輪（閆佩倫 飾）一家人，盯上了傳說中藏有寶藏的古墓，而這個(gè)古墓就在警局之下......