天體主義十分鐘
別名：走十分鐘就是天體營，家庭照顧者布魯塞爾優(yōu)勢的情況下他的顧客的反對在日落島的度假別墅換一個漂亮的財(cái)產(chǎn)......他們只是不知道一個小小的細(xì)節(jié)：島日落是100％的裸照！同時，Levantains抵達(dá)布魯塞爾，推動了一項(xiàng)指令，可以托衣服整個歐洲......
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即興謀殺
李庚希,鄧家佳,劉奕鐵,黃曉明,岳佳頤,趙胤胤,楊皓宇,宗俊濤,呂鑫,龔毅星,于晞悅神秘孤島上只有一座何家古堡，以前死過很多人。半癱少女何思怡（李庚希 飾）離家17年后歸來，父親卻離奇失蹤，迎接她的是美艷溫柔的繼母（鄧家佳 飾）、風(fēng)度翩翩的私人醫(yī)生（黃曉明 飾）、年輕健碩的司機(jī)（劉奕鐵 飾）和萬般貼心的女傭等人。這一切看似平靜，但不時響起的古怪聲音，似有若無的血腥氣味，似乎都藏著這座古堡不可言說的秘密，一步步將這家人 拖入萬劫不復(fù)的深淵，一場蓄謀已久的復(fù)仇大戲漸漸拉開帷幕……
有朵云像你
屈楚蕭,王子文,王皓,何藍(lán)逗,黃毅,陳庭煜,吳彥姝,牛犇,余嘉誠隨著雨季的臨近，人已埋、戶已銷的秦天（屈楚蕭 飾）居然“重生”歸來，給了老婆蕭凡（王子文 飾）一個大大的驚喜，也給了周圍人猝不及防的驚嚇。面對這個記憶被清零，卻年輕八歲擁有八塊腹肌的“小奶狗”模樣的秦天，蕭凡決定先撩為敬。兩人在日復(fù)一日的甜蜜互動中，曾經(jīng)緊密相連的心也再度同頻。這場奇跡似乎給了他們一次重新書寫愛情的機(jī)會，倘若可以的話，真希望時間定格，雨不要停……
機(jī)械姬
艾麗西亞·維坎德,多姆納爾·格里森,奧斯卡·伊薩克,水野索諾婭,克里·約翰遜,Claire Selby,Symara A. Templeman,嘎娜·巴亞爾賽汗,Tiffany Pisani,伊蓮娜·艾爾米納斯,李仙湖,黛博拉·羅桑,喬安娜·希雅,艾薇·維效力于某知名搜索引擎公司的程序員加利·史密斯（多姆納爾·格利森 Domhnall Gleeson 飾）幸運(yùn)地抽中老板納森（奧斯卡?伊薩克 Oscar Isaac 飾）所開出的大獎，他將受邀前往位于深山的別墅中和老板共度假期。在與世隔絕的別墅中，納森親切地接待了這位員工。 事實(shí)上他邀請加利到來還有另一個目的，那就是協(xié)助他完成其所開發(fā)的智能機(jī)器人的測試。天才一般的納森研制了具有獨(dú)立思考能力的智能機(jī)器人伊娃（艾麗西亞·維坎德 Alicia Vikander 飾），為了確認(rèn)她是否具有獨(dú)立思考的能力，他希望加利能為伊娃進(jìn)行著名的“圖靈測試”。似乎從第一眼開始，加利便為這臺有著宛如人類般姣好容顏的機(jī)器人所吸引。 在隨后的交流中，他所面對的似乎不是冷冰冰的機(jī)器，而更像是一個被無辜囚禁起來的可憐少女……
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.
黑暗收割
卡塞伊·萊克斯,艾默莉·克魯奇菲爾德,Dustin Ceithamer,亞歷杭德羅·阿卡拉,以斯拉·巴茲頓,杰瑞米·戴維斯,伊莉莎白·里瑟,盧克·柯比,Austin Autry,梅根·貝斯特,杰克·布雷楠,布里坦·道爾頓,史蒂文·麥卡錫,Maclean Fish,納扎利·德姆克維奇,West Mulholland,Carter Heintz,Logan Tomanek,Dylan McEwan,Ryder Dueck大衛(wèi)·斯雷德(《漢尼拔》)將為米高梅執(zhí)導(dǎo)新片[黑暗收割](Dark Harvest，暫譯)。影片根據(jù)同名恐怖小說改編，邁克爾·吉里奧([龍與地下城])撰寫劇本。故事發(fā)生在1963年的萬圣節(jié)，圍繞著一個叫“十月男孩”展開。每年萬圣節(jié)，他都會手拿屠刀，從玉米地里爬起來，走向小鎮(zhèn)。無論是獵人還是獵物，“十月男孩”都是一年一度生死儀式的獎品。皮特知道，殺死“十月男孩”是他逃離這個窮途末路的小鎮(zhèn)的唯一機(jī)會。他愿意冒著生命危險去贏得勝利。但在夜晚結(jié)束之前，皮特將發(fā)現(xiàn)“十月男孩”可怕的真正秘密。
天大的事
邵峰,劉惠,韓三明,張瑞雪,張衡平,郭晗該取材于武穴市4000多名黨員下社區(qū)、進(jìn)小區(qū)，通過黨建引領(lǐng)老舊小區(qū)改造的故事：建于上世紀(jì)七、八十年代的老油廠小區(qū)，有9棟樓160多戶居民，是一個典型的無物管、無主管部門、無人防物防的“三無”小區(qū)。這里許多居民亂搭亂建雜物間、小車棚，下水道破損無人維修，生活污水橫流，居住環(huán)境十分惡劣。有條件的住戶外出購房搬離后，又將這里的房子出租出去，導(dǎo)致這兒的居住環(huán)境更加復(fù)雜。龍?zhí)渡鐓^(qū)主任張昊陽借老舊小區(qū)改造之際，做活黨建+的文章，派出社區(qū)片警樊玉鋒任第一支部書記，引導(dǎo)居民開展“法治、德治、自治”。在社區(qū)工作者和小區(qū)黨支部+業(yè)主委員會的共同努力下，解決了一批居民急難愁盼的事，終于讓居住在這里的近千名群眾生活出現(xiàn)了新業(yè)態(tài)。