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致命玩笑3
克麗斯滕·齊恩,本·霍靈斯沃斯,迪恩·阿姆斯特朗,肯·科齊格 Ken Kirzinger,Jesse Hutch,薩拉米切燥熱枯燥的長途旅行，怪物卡車司機(jī)“銹釘”（肯·科齊格 Ken Kirzinger 飾）的血腥旅程仍未結(jié)束，17號公路上布滿殘肢斷體，娛樂著他的邪惡趣味。某個平凡的路邊小餐館，奧斯?。℅ianpaolo Venuta 飾）、米克（Ben Hollingsworth 飾）、愛麗莎（Leela Savasta 飾）、鮑比（Jake Manley 飾）和茱爾（Kirsten Prout 飾）等五個準(zhǔn)備參加公路汽車?yán)惖那嗄昴信谟懻撔熊嚶肪€，他們向鄰桌打聽17號公路存在與否，卻得知了“屠殺小巷”的傳言和警告?！ o所畏懼的年輕人當(dāng)然不信這個邪，他們快意上路，并遭遇“銹釘”的卡車。年輕人仗著汽車性能的優(yōu)勢，恣意戲?！颁P釘”，但卻惹到了一個絕不能隨便招惹的惡魔……
安娜和世界末日
艾拉·亨特,馬爾科姆·卡明,莎拉·斯維爾,克里斯托弗·萊沃,瑪里·休,本·威金斯,馬克·本頓,保羅·凱耶,肖恩·康納,約翰·溫切斯特,艾拉·賈維斯,杰基·伯德一部混雜音樂劇和喪尸電影的喜劇片，這部僵尸歌舞片的框架基于2010年英國電影學(xué)院獎獲獎短片《僵尸音樂劇》（暫譯）（ZombieMusical），講述了一大波僵尸窮追猛打一撮人，他們邊唱邊打，不斷求生的故事。電影取景地為蘇格蘭，由艾拉·亨特出演安娜，馬克·本頓飾演安娜的父親，保羅·凱耶出演反派。
正直的候選人2
羅美蘭,金武烈,尹敬浩,徐現(xiàn)宇,樸真珠,尹斗俊羅美蘭、金武烈、尹京浩將繼續(xù)合作出演《正直的候選人2》，續(xù)集依舊由張幼珍執(zhí)導(dǎo)。將講述羅美蘭挑戰(zhàn)道知事選-舉引發(fā)的故事。他們?nèi)伙椦莸慕巧c前作一樣。 計劃下半年開拍。
邪貓劫
Toni Hudson,Eric Larson,Alex CordA bunch of young people are invited to a Caribbean cruise on a gangster's yacht, to distract the attention of the authorities. Unfortunately, a mutant cat which escaped from a test laboratory also gets on board, and kills most of the passengers.
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·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.
喂，應(yīng)為
長澤雅美,永瀨正敏,高橋海人,大谷亮平,筱井英介,奧野瑛太,寺島忍葛飾應(yīng)為生活在藝術(shù)幾乎完全由男性主導(dǎo)的江戶時代，盡管她是北齋之女，但仍作為屈指可數(shù)的女性畫師活躍于畫壇。她擁有連北齋都稱贊“在美人畫方面勝我一籌”的繪畫天賦，同時性格火爆、剛強(qiáng)、煙不離手，是個豪爽灑脫的女性形象。 《喂，應(yīng)為》的主人公阿榮是北齋的女兒、得力助手，展現(xiàn)了驚人的繪畫天賦。她從父親那里獲得了“葛飾應(yīng)為”這一畫號，這個名字源于北齋常常喊她“喂，飯來！”“喂，筆來！”等日常呼喚，“應(yīng)”代表回應(yīng)，“為”則有作為、成就之意，是從師父傳給弟子的名號，也是父親傳給女兒的象征。盡管她不會泡茶，也不擅長針線活，卻以繼承自父親的繪畫才華與膽識，在男性社會中闖出一條路。