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特雷弗·諾亞：苦中作樂
特雷弗·諾亞菜肉餛飩
周野芒,潘虹,茅善玉,陳國慶,王琳,徐祥,高博文,王菊,陳龍,馮瑪婭,倪夏蓮,安棟,王佳彥,曹可凡,袁鳴,章齡之,戰(zhàn)士強(qiáng),張芝華,張建亞,顧曉東,卞根琴,孔祥東,賈梓樂,錢小昆,陳瀚波,黃英光環(huán)：夜幕
麥克·柯爾特,克里斯蒂娜·鐘熱血敢死隊
隋存毅,李恰,李博,呂九億,呂晨,王錦,劉小賓,楊明,馮奕鳴奇跡夢之隊
凱萊布·麥克勞克林,加布里埃爾·尤尼恩,斯蒂芬·庫里,妮可拉·考夫蘭,尼克·克羅爾,大衛(wèi)·哈伯,詹妮弗·路易斯,帕頓·奧斯瓦爾特,Jelly Roll,亞倫·皮埃爾,鮑比·李,安德魯·桑提諾,雪莉·可拉,愛德華多·弗蘭科,詹妮弗·哈德森,阿伊莎·庫里飛砂風(fēng)中轉(zhuǎn)
鄭伊健,陳小春,方中信,余安安,葉璇,陳子聰,劉浩龍同類推薦
膚色
喬納森·塔克,杰克遜·羅伯特·斯科特,丹妮爾·麥克唐納,朗尼·查維斯,賈里德·戴,山姆·狄龍,邁克爾·維拉爾在美國小鎮(zhèn)一家超市的付款通道中，一個黑人對一個10歲白人小孩（JacksonRobert Scott飾）微笑，不曾想，這個善意的舉動受到誤解，引發(fā)了幫派之間的對抗，并以驚人的結(jié)局收尾。
手機(jī)有鬼
漢娜·霍克斯特拉,Isis Cabolet,羅伯特·德·霍格,Alex Hendrickx,馬菲積斯·范德桑德·巴庫曾,Patrick Martens,Gigi Ravelli,Harry van Rijthoven,麗莎·斯普斯,揚(yáng)容·斯皮森伯格,馬克·范·伊文安娜在床上醒來，腦袋因為前一夜的狂歡有些昏沉疼痛。她打開手機(jī)，發(fā)現(xiàn)新增一款名為“伊麗絲”(IRIS) 的神秘互動APP；它將好姊妹出軌的證據(jù)偷拍下來，還將不雅照、私密影片和訊息散布至臉書，監(jiān)控她的生活，周遭朋友紛紛卷入，陷入恐慌。 安娜用盡一切辦法，欲將伊麗絲移除，卻引來致命殺機(jī)。不甘居于劣勢的她，決定正面迎擊…。
被撓
大衛(wèi)·法里爾,迪倫·里夫,大衛(wèi)·斯塔爾,哈爾·卡普,戴維·達(dá)馬托網(wǎng)絡(luò)上流傳著關(guān)于“撓癢”的神秘競技，一個同志想?yún)⑴c這場“撓癢癢大賽”卻被告知此運(yùn)動僅限直男。記者大衛(wèi)·法里爾(David Farrier)深入探尋后發(fā)現(xiàn)“撓癢”的背后是一條完整的灰色產(chǎn)業(yè)鏈，這其中不僅有撓癢視頻的制作方對演員的壓榨與侵害，甚至還能看到美國由金錢操縱的階級制度的冰山 一角。 本片曾獲得2016年第32界圣丹斯電影節(jié)世界電影單元紀(jì)錄片評審團(tuán)大獎提名。 一場“撓癢”的運(yùn)動，卻讓人笑不 出來。
急凍奇?zhèn)b
元彪,元華,張曼玉,林聰,吳志雄,黃耀明 Anthony Wong Yiu,黎燕姍,徐錦江,元奎,王晶故事開始于明朝，鳳三（元華 飾）心腸歹毒，無惡不作，身為錦衣衛(wèi)，同時又是鳳三的師弟，方守正（元彪 飾）發(fā)誓要將鳳三繩之于法。然而，鳳三此人詭計多端，甚至想要偷取能夠扭轉(zhuǎn)時空的黑玉佛，借此逃脫法網(wǎng)，幾番爭斗之后，兩人雙雙跌落山崖?！ r光荏苒，轉(zhuǎn)眼已是現(xiàn)代，考古隊在雪地中挖掘出了鳳三和方守正被冰封住的尸體，將兩人運(yùn)往美國研究，然而，途中一場意外卻令兩人死而復(fù)生。方守正于機(jī)緣巧合之下遇見了名為阿玉（張曼玉 飾）的不良少女，陰差陽錯的成為了她的保鏢，而鳳三不改奸邪本性，加入了黑社會，繼續(xù)為非作歹。當(dāng)方守正得知鳳三依舊作惡多端后，他決定繼續(xù)自己未完成的使命。
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.