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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·伊加爾丹下左膳：大岡越前外傳
森山未來,黑木華,每熊克哉,福士誠治,加藤諒,平祐奈,宇梶剛士,相島一之,榎木孝明,橫內(nèi)正,田邊誠一,田村亮,高橋克典過家家2026
成龍,彭昱暢,張佳寧,潘斌龍,李萍,牛犇,劉敏濤,馮兵,李宗恒,芮丹尼,黃才倫,老四,黃炎,韓棟,張國慶,劉頔,劉洋,陳昊明,那家威,楊帆,永辰,李洪權(quán),胡笑源,傅曉娜,韓沐霏,李太言,朱秈秈社區(qū)戰(zhàn)警
Poramat Paywongsa,Nattaporn Phetskaew,Kittisak Phrosekaew萬世英雄
查爾頓·赫斯頓,索菲婭·羅蘭,雷夫·瓦朗,吉內(nèi)瓦維·佩吉,約翰·弗拉瑟,加里·雷蒙德,赫德·哈特菲爾德,馬西姆·塞拉托,弗蘭克·思林,邁克爾·霍爾德恩,安德魯·克魯克香克,道格拉斯·威爾默,托里奧·卡米納提,拉爾夫·杜魯門,Christopher Rhodes,卡洛·朱斯蒂尼,福斯托·托齊,芭芭拉·埃弗里斯特,尼里奧·貝爾納迪,赫伯特·羅姆,歐米洛·康帕納,Antonio Mayans,保羅·穆勒,保羅·納什,歐露莎爾芭·奈麗,維爾吉里奧·特謝拉出賣她的肉體
弗里達(dá)法瑞爾,加布里埃爾·奧爾德斯,馬修·馬斯登同類推薦
劇場靈
島崎遙香,足立梨花,高田里穗,町田啟太,中村育二,小市慢太郎水樹沙羅（島崎遙香 飾）是一個(gè)在演藝圈打拼多年的青年女演員，雖然她努力磨練演技，勤奮專注，卻始終未得到世人的關(guān)注。在此期間她受到來自事務(wù)所的壓力，二者相權(quán)之際最終選擇參加劇作家錦野豪太（小市慢太郎 飾）的新作《鮮血的召喚》的試鏡?！鄂r血的召喚》根據(jù)史上真實(shí)人物嗜血如命的伊麗莎白的故事改編，為了美這個(gè)女人不惜殘害鮮活的生命。沙羅與同事務(wù)所小有名氣的女星筱原葵（高田里穗 飾）一同試鏡，兩人最終分別獲得了農(nóng)家女孩安娜以及主角伊麗莎白的角色?！ ≡谂叛葸^程中，放置在舞臺中央的人偶似乎有了自己的意識，讓本就為了榮光而近乎癲狂的女子們更走向了崩潰的邊緣……
廢世界
故事設(shè)定在《廢頭》世界的1042年前，以機(jī)器人“羅賓”作為主角。羅賓原本作為護(hù)衛(wèi)，隨同調(diào)查隊(duì)長特里斯前往地下世界調(diào)查異常情況。盡管肩負(fù)保護(hù)特里斯的使命，但調(diào)查隊(duì)卻遭到了人工生命體馬里甘的邪教組織“吉拉教”的襲擊。在壓倒性的戰(zhàn)力差距下，調(diào)查隊(duì)陷入苦戰(zhàn)。然而，在這場激烈的交鋒中，他們發(fā)現(xiàn)了次元的扭曲，并逐步揭開地下世界隱藏的秘密與異變的真相。
月亮中的亞馬遜女人
阿瑟尼奧·豪爾,Donald F. Muhich,莫妮卡·加布里埃爾由21 個(gè)鬧劇穿插一部科幻短片組成的鬧劇，導(dǎo)演羅伯特（《怪異的阿爾 楊克維奇》）、約翰（《動(dòng)物屋》）等等都是環(huán)球影片公司的一線導(dǎo)演，他們的共同特點(diǎn)就是在搞怪搞笑方面各有絕招。這些短片大都是對美國夜間電視節(jié)目和低成本科幻片的戲仿，故事包括一個(gè)男子受到他所住的房子攻擊、一場由喜劇演員主持的葬禮和被吸進(jìn)電視機(jī)里的人等等?！ ⊙刍潄y 滿嘴放炮
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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.
林肯大戰(zhàn)僵尸
小比爾·奧伯斯特,克里斯·赫洛澤,Jason Vail19世紀(jì)，經(jīng)歷了影響深遠(yuǎn)的南北戰(zhàn)爭，美國終于迎來了新的時(shí)代。亞伯拉罕·林肯（比爾·奧伯斯特 Bill Oberst, JR 飾）接連取得與人類的勝利，卻不得不面對新的敵人。他麾下一直部隊(duì)在巡察途中遭遇活死人，三十人僅有一人幸存，但由于驚嚇過度精神失常。北方政府懷疑這是南方的最新武器，于是計(jì)劃派出一支12人的小分隊(duì)深入敵后，救出被困的人員。勇猛無敵的林肯見識了活死人的威力，自告奮勇帶部隊(duì)向南方進(jìn)發(fā)。在目標(biāo)要塞，他們遭遇了數(shù)量龐大的活死人軍團(tuán)，這群怪物的殘忍更遠(yuǎn)遠(yuǎn)超出他們的想象?！ ∷劳鼍仍寐L難熬，偉大的林肯總統(tǒng)能否帶著他的子民逃出生天……