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天山玉女劍
黃秋燕,溫兆倫,楊麗菁,關秀媚,湯鎮(zhèn)業(yè),惠英紅,關海山該劇主要講述了古代傳奇女俠李四娘的一段經歷。揮劍斷水,水更流,血濺四方,收刀看山,山在天,玉女情仇。 明嘉歷年間,從長白山到廣東參加武林大會的武林頂尖高手敖龍帶著師弟王虎,在客棧輕易擊敗“山西五虎”，得到暗中觀看的客棧老板娘李四娘的親膩，敖龍經不起媚香軟骨、自投羅網(wǎng)的與李四娘一夜快活風流......次日，敖龍帶領徒兒到玉女山莊找到莊主楊夫人報兩年前的 之仇，一翻驚心動魄的打斗后，最后師弟王虎感覺事有蹊蹺，即提出在武林大會中解決兩家的仇怨。 武林大會在盟主齊大俠的主持下進行，敖龍此時并沒有在大會上提出與楊夫人的仇怨，使楊夫人頓感詫異。而有兩個為家中雞鴨偷搶的人來到武林大會要求解決，齊大俠頓時感到殺機重重一場武林浩劫可能即將到來。夜間晚宴，果然有人提出重選新盟主，武林群雄力推齊大俠連任，只有敖龍反對，導致所有人不歡而散，群雄聚宴，酒后的李四娘不惜肌膚相親、百般挑逗引誘少林大師，讓大師神魂顛倒......此舉恰被一道姑瞅到，頓然芳心蕩漾、意亂魂迷，大膽飛紙傳情約大師林中風流......當晚，敖龍與李四娘合謀用計在客棧將齊大俠害死，搶走“秘籍”，并嫁禍楊夫人。師弟王虎出于仁義，決心幫助楊夫人。楊夫人的老公楊充見王虎與自己老婆接角頻，頓起疑心，暗中監(jiān)視。恰恰王虎誤入閏房撞見在洗浴中的楊夫人......被楊充當場遇到，楊充急火沖天，一氣之下挾女兒憤然離開山莊，那知半路被走火入魔的敖龍擒住。一場郊外的血腥混戰(zhàn)，讓本不平靜的江湖再掀風云，武林的浩劫終于爆發(fā)了.........
異形：奪命艦
卡莉·史派妮,戴維·榮松,阿奇·雷諾,伊莎貝拉·莫塞德,斯派克·費恩,吳愛玲,丹尼爾·貝茨,伊安·霍姆,特雷沃·紐林,羅伯特·勃洛克茨基,安妮瑪麗·格里格斯,羅茜·伊德,索瑪·西蒙,本斯·歐科克,維克托·歐利祖影片時間線設定在1979年第一部《異形》與1986年的續(xù)集《異形2》之間，圍繞一群年輕而勇敢的太空殖民者展開。講述他們?yōu)樘与x外星采礦殖民地的沉悶生活，在冒險探索一座廢棄的太空站時，意外遭遇了宇宙中最可怕的生命體——異形?！ —M窄幽暗、危機四伏的空間站中，大逃殺的序幕已經被無情拉開，人類再次成為異形生物捕獵的目標。在無盡的黑暗與死亡威脅的籠罩之下，太空探險隊員們能否在每一次心跳的瞬間，察覺到未知生物潛伏的絲絲寒意？在這場你死我活的追逐戰(zhàn)中，他們將直面怎樣的信任挑戰(zhàn)和道德掙扎？當一個又一個同伴被殘忍吞噬，求救無門的他們究竟能否在這場太空殺戮中尋得一線生機？
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,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.
母親2020
長澤雅美,奧平大兼,阿部隆史,郡司翔,夏帆,皆川猿時,仲野太賀,木野花,土村芳,荒卷全紀,大西信滿,淺田芭路本片是根據(jù)實際發(fā)生的「少年殺害了祖父母事件」的構思而改編成電影的嶄新故事。長澤扮演懶散奔放的母親·秋子，挑戰(zhàn)墮入了社會黑暗面的女人，而阿部サダヲ則飾演與秋子沒有結婚登記而同居的丈夫·遼，影片將重點刻畫秋子和她年幼的兒子·周平（郡司翔）之間所展開的關系。
春生回家
日軍侵華，陳春生目睹父親慘死刀下，執(zhí)念驅使他不顧母親哀求，深夜偷跑參軍，立誓抗日救國，再回家鄉(xiāng)。他在戰(zhàn)場浴血成長，終見山河光復，然而內戰(zhàn)打響，拖慢了他回鄉(xiāng)的腳步。陳春生拒絕向同胞舉槍，淪為逃兵被關押，1949年被強行運往臺灣。在臺數(shù)十年，他漂泊無依，雖遇良伴組建新家，卻始終被思鄉(xiāng)之苦煎熬。兩岸三通后，他竟得知母親仍在等他，八十三歲的他飛奔回鄉(xiāng)，與百歲母親相認，這份遲到71年的承諾，終在生命盡頭圓滿。
沖破鐵幕
保羅·紐曼,朱莉·安德魯斯,麗拉·柯卓娃,漢斯約格·費爾麥邁克爾（保羅·紐曼 Paul Newman 飾）是一位非常優(yōu)秀的火箭科學家，同時也是國家重點保護的珍貴人才。莎拉（朱麗·安德魯斯 Julie Andrews 飾）是邁克爾的助手，同時也是他的未婚妻，某日，兩人共同前往哥本哈根，去參加在那里舉辦的研討會。 在哥本哈根的日子里，邁克爾的行為舉止表現(xiàn)的非常的怪異，就連向來能夠理解他的莎拉都感到百思不得其解，他的所有詭異行為只有一個解釋，那就是他要背叛自己的國家，逃往東德。為了弄清楚事情的真相，莎拉開始了對于邁克爾的調查，哪知道最終，莎拉選擇了和邁克爾一起叛逃。這對夫妻的行為背后，有著不為人知的目的。