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星河戰(zhàn)隊(duì)3：掠奪者
卡斯帕·范·迪恩,喬琳納·布拉洛克,斯蒂芬·霍根,波瑞斯·科喬,阿曼達(dá)·多諾休,瑪內(nèi)特·帕特森,斯特里奧·薩萬(wàn)特,坦婭·范·格拉恩,Antonio Summerton,Nicole Salandra,柯基·法爾考,史蒂芬·詹寧斯,Rob Vega,格蘭特·斯旺比,Damon Berry,喬·瓦茲,卡爾·桑寧,蒂龍·基奧,凱文·奧托,勞倫·麥格雷,Tarryn Page,邦戈·姆布圖馬,科里·伯頓,凱瑟琳·奧克森伯格布賴頓硬糖
薩姆·賴?yán)?安德麗婭·賴斯伯勒,海倫·米倫,約翰·赫特,菲爾·戴維斯,儂索·阿諾斯,克雷格·帕金森,安迪·瑟金斯,西恩·哈里斯,杰夫·貝爾,史蒂文·羅伯特森,莫里斯·洛維斯,斯蒂夫·艾弗茨,Francis Magee,Adrian Schiller最偉大的時(shí)光
艾斯林·貝亞,馬修·麥克諾提,愛(ài)麗絲·洛維,伊莎貝爾·貝爾納多,埃瑪·阿莫斯,羅拉·麥克唐納,齊吉·希思,馬克·伍頓,阿爾弗雷多·塔瓦雷斯,Jayde Adams,安馬卡·奧卡福,Barry O'Connor,Emmet Byrne,Matthew Koon,Manolia Nannou國(guó)家韋恩：念舊
Wayne Colley,Tamara Stackhouse,Lauren Cadogan,Savannah Gurule觸電2025
林敏驄,陳穎欣,柯煒林,伍詠薇,蘇皓兒,羅莽,馮素波,盧慧敏,陳毅燊,陳苡臻,吳肇軒,羅浩銘密室逃生2
泰勒·拉塞爾,洛根·米勒,霍蘭·羅登,茵蒂婭·摩爾,托馬斯·康奎爾,伊莎貝拉·弗爾曼,詹姆斯·弗萊恩,卡利托·奧利維羅,杰米-李·蒙尼,坦婭·范·格拉恩,阿維亞娜·亞伯拉罕導(dǎo)演精選
弗拉維亞
1951年，英國(guó)鄉(xiāng)村邊緣，德盧斯家族的莊園已在歲月中斑駁頹敗。11歲的弗拉維亞·德盧斯，是家族里最離經(jīng)叛道的孩子——她癡迷化學(xué)，尤其精通毒藥，更有著超越年齡的偵探天賦。當(dāng)一具陌生尸體出現(xiàn)在莊園的庭院中，她的父親哈維蘭上校成了警方的頭號(hào)嫌疑人。為了洗刷父親的冤屈，弗拉維亞拿起放大鏡與化學(xué)試劑，在老宅的藏書(shū)室、實(shí)驗(yàn)室與莊園的隱秘角落中展開(kāi)調(diào)查。她周旋于警探、古怪的家族成員與小鎮(zhèn)居民之間，在層層迷霧中探尋真相，而隨著調(diào)查深入，她也逐漸揭開(kāi)了家族隱藏多年的秘密。
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.
有情感的機(jī)器人
一名叫達(dá)爾的走失男孩被小鎮(zhèn)人們發(fā)現(xiàn)，由于沒(méi)人認(rèn)領(lǐng)，他被帶到福利院。經(jīng)過(guò)檢查，醫(yī)生發(fā)現(xiàn)他身體各項(xiàng)機(jī)能正常，而且智商很高，只是失去了一部分的記憶?！ ∵_(dá)爾被安排暫時(shí)居住在安迪家。安迪和妻子喬依斯一直希望能夠領(lǐng)養(yǎng)一個(gè)孩子，達(dá)爾的到來(lái)令他們異常興奮。在相處的過(guò)程中，達(dá)爾和鄰居家的小男孩特塔成為了非常要好的朋友，他們一起上學(xué)、一起玩耍、一起為安迪的棒球隊(duì)贏得了勝利，大家都覺(jué)得達(dá)爾是個(gè)非常聰明而且惹人喜愛(ài)的男孩。 忽然有一天，兩個(gè)自稱是達(dá)爾父母的人來(lái)接走了達(dá)爾，這令安迪全家和特塔非常傷心。達(dá)爾也對(duì)他們產(chǎn)生了深厚的感情，戀戀不舍地離開(kāi)了安迪家?！ ∈聦?shí)上達(dá)爾是一個(gè)在大腦中被植入芯片的機(jī)器人，但他現(xiàn)在具備了一個(gè)正常孩子的一切生理機(jī)能。來(lái)接他的也并非他的父母，而是制造他的博士。博士被達(dá)爾和安迪他們的深厚情感所感動(dòng)，他希望達(dá)爾能像正常孩子一樣生活，但國(guó)家的高級(jí)官員卻要求摧毀達(dá)爾。博士在同事的配合下，將達(dá)爾帶出試驗(yàn)基地，遭到警察的追擊，途中博士為了掩護(hù)達(dá)爾中彈身亡?！ ∵_(dá)爾潛入空軍基地，開(kāi)著戰(zhàn)斗機(jī)向安迪家的方向飛去。空軍基地地面遙控飛機(jī)在飛行過(guò)程中自動(dòng)摧毀，達(dá)爾彈出飛機(jī)，降落在安迪家旁邊的湖中。達(dá)爾終于回到了屬于他的“家”中。