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屠宰嘔吐娃娃
艾梅拉·勒維一個被自己的父母拋棄的女孩的故事，14歲就離家出走的她，被當(dāng)?shù)氐囊粋€牧師收養(yǎng)了。后來她所遇到的人，會給她本來就很悲慘的命運帶來怎樣的影響呢？對于安吉拉·阿卜迪恩來講，為了她，他寧愿犧牲自己也要與撒旦達成死亡契約，這樣就可以讓她靈魂永生，為了報仇，她先去吧那牧師的教堂燒成了焦土，而牧師因為喝多了而死在了教堂里。可是后來，她卻在都市的燈紅酒綠中染上了毒癮和酒癮，殊不知，她的腳已經(jīng)邁入了地獄之門…從做了艷舞女郎到做妓女，發(fā)現(xiàn)毒癮已讓她無法自拔，甚至他覺得撒旦也拋棄了她。
愛我愛我
米爾·詹金斯,佩佩·巴羅佐,盧卡·梅盧奇,Andrea Guo,Michelangelo Vizzini,Madior Fall,Vanessa Donghi朱恩（June）在哥哥去世后搬到意大利，尋求新的開始。在她的新精英學(xué)校里，她被詹姆斯（James）吸引，詹姆斯是個勇敢卻危險的人，卷入了非法綜合格斗（MMA）比賽，但她卻開始和詹姆斯最好的朋友威爾（Will）約會，威爾是個完美的模范學(xué)生。然而，表象具有欺騙性，朱恩很快發(fā)現(xiàn)學(xué)校里的人都并非表面那樣，每個人都隱藏著秘密。隨著緊張局勢加劇，隱藏的真相浮出水面，朱恩需要決定自己的心真正屬于誰。
魔鬼名校
Latkamon Pinrojkirati,Anchalee Saisoontorn,加圖蓬·丹古來Assigned by the professor, 5 senior university students were invited to the old mansion belongs to ML.Salukjit, an old elite who welcomes them with her weird attitude. Before the decision to leave or stay has been made, ML.Salukjit terrifies them and reveals her demonic power.
怪形前傳
瑪麗·伊麗莎白·溫斯特德,喬爾·埃哲頓,烏爾里奇·湯姆森,艾瑞克·克里斯蒂安·奧森,阿德沃爾·阿吉紐依-艾格拜吉,保羅·布朗斯坦,瓊德·埃斯彭·塞姆,Kim Bubbs,尤爾根·朗赫勒,簡·岡納·勒伊斯,斯蒂格·亨里克·霍夫,克里斯托弗·海維尤,霍·阿德里安·哈萬,卡斯騰·拜卓隆,喬納森·沃克,邁克爾·布朗時為1982年，一支隸屬挪威的三人南極科考隊在冰原中行進，意外發(fā)現(xiàn)一艘一百萬年前的奇怪船只，并且在附近找到了凍于嚴(yán)冰之中的神秘生物。才貌雙全的美國古生物學(xué)家凱特·洛伊德（瑪麗·伊麗莎白·文斯蒂德 Mary Elizabeth Winstead 飾）在桑德爾·哈沃森博士（Ulrich Thomsen 飾）的邀請下，隨同一眾科研工作者前往南極。經(jīng)過認(rèn)真研究，他們發(fā)現(xiàn)這是地球上從未有過的生物。正當(dāng)科學(xué)家們?yōu)榱诉@個偉大的發(fā)現(xiàn)載歌載舞慶祝之時，神秘生物悄悄解凍，繼而向人類展開兇殘的襲擊。經(jīng)過一番慘烈的搏斗，怪物最終葬身火海。 但是厄運并未就此結(jié)束，經(jīng)過對怪物細(xì)胞的觀測，凱特隱隱感到一場災(zāi)難正向全人類襲來……
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.
捏造
綾野剛,柴崎幸,龜梨和也,木村文乃,大倉孝二,迫田孝也,光石研,北村一輝,小林薰2003年，福岡市的一所市立小學(xué)，發(fā)生了一起老師欺凌學(xué)生的惡性事件。一名男性教師以種族歧視為由，對“有美國人血統(tǒng)”的四年級學(xué)生處處找碴，施行惡毒的語言暴力和殘酷的體罰。該學(xué)生的家長對教師提起民事訴訟，550名律師自發(fā)組成原告律師團。福岡市教育委員會也對教師做出了停職處罰。行為如此惡劣的教師堪稱罕見，經(jīng)《周刊文春》《朝日新聞》等主流媒體報導(dǎo)，引起軒然大波，涉案教師被冠上“史上最惡劣的‘殺人教師’”的名號；但欺凌事件真的發(fā)生了嗎？隨著調(diào)查的深入，事件發(fā)生了驚人的逆轉(zhuǎn)…… 影片改編自記者福田真澄2007年出版的一本書，名為《捏造：福岡“殺人老師”的真相》。