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年獸
陳創(chuàng),姜彭,呂妍,於薇妮,杜星奇,劉霖,鄭龍胡家莊年味漸淡，寒暑異常，舞獅少年羅川跳脫飛揚(yáng)，異想天開(kāi)，夢(mèng)想把舞獅技藝發(fā)揚(yáng)光大，卻常常弄巧成拙，所到之處雞飛狗跳，被村民視為“掃把星”，是村長(zhǎng)胡長(zhǎng)禮眼中的“危險(xiǎn)分子”。年獸小五意外降臨人間，大鬧村莊，勾走了傳家寶——獅頭。羅川為找回獅頭，和下凡捉年獸的鼠仙阿細(xì)相識(shí)，兩人逐漸發(fā)現(xiàn)年獸并不可怕，可以和人類(lèi)做朋友，但胡長(zhǎng)禮愛(ài)村心切，被噬靈妖蠱惑，遁入瘋魔，制造了一場(chǎng)針對(duì)年獸的陰謀，最終羅川和阿細(xì)聯(lián)合村民，打敗了噬靈妖，喚醒了胡長(zhǎng)禮，胡家莊重歸熱鬧，眾人歡歡喜喜迎接春節(jié)到來(lái)。
格斗家·父愛(ài)無(wú)聲
周惠林,白予晴,周小偉,張聿小說(shuō)作家阿真和她的拳王父親，從小就有很深的隔閡，在父親離世后，阿真用自己的方式與父親和解，并且在小說(shuō)世界中完成了文與武的轉(zhuǎn)換，經(jīng)歷了善與惡的抉擇，成功蛻變，為父正名，成為了真正的格斗家！
時(shí)間浪人之愛(ài)你一大跳
艾倫,林佳陵,黃妮娜,郭祥鵬,陳姝,苗馳,紀(jì)陽(yáng)木該片劇情主要講述了一個(gè)現(xiàn)代花花公子楚留香每天周旋于多個(gè)情人之間，某天意外被情人們發(fā)現(xiàn)后將他扔下懸崖，等他醒來(lái)時(shí)發(fā)現(xiàn)自己竟離奇穿越到古代，并且被將軍府千金杜鵑兒帶回去做家丁，而更加不可思議的是，他發(fā)現(xiàn)杜鵑兒竟然也是從現(xiàn)代穿越來(lái)的，隨后兩人就發(fā)生了一段“山路十八彎，蕩氣回腸”的另類(lèi)穿越愛(ài)情故事。
旁觀(guān)者2025
陳坤,王硯輝,劉敏濤,容中爾甲,安澤豪,陳依莎,單禹豪,王勁松,陸玲,王雯那,姜穎函離家十六年的陳家輝（陳坤 飾）在得知父親陳為民（王勁松 飾）病危后，重返故鄉(xiāng)。但父親未留下只言片語(yǔ)便匆匆離世。葬禮之后，陳家輝與哥哥陳家興（王硯輝 飾）、姐姐陳家媛（劉敏濤 飾）在整理父親遺物時(shí)，逐漸察覺(jué)父親身上似乎隱藏著許多不為人知的秘密。帶著困惑與心結(jié)，陳家輝開(kāi)始探尋父親生前的生活軌跡，試圖拼湊出父親真實(shí)的模樣。在這個(gè)過(guò)程中，一段埋藏了16年的家庭秘密逐漸被揭開(kāi)，而這個(gè)秘密的核心，正是家輝與父親之間一生都未能解開(kāi)的那個(gè)結(jié)。
斷魂小丑
珍娜·凱內(nèi)爾,薩曼莎·斯卡菲迪,戴維·霍華德·桑頓,凱瑟琳·科科蘭,Pooya Mohseni,Matt McAllister,Michael Leavy,凱蒂·馬奎爾,吉諾·卡法雷利,Cory DuVal,Erick Zamora,Clifton Dunn,Xiomi Frans-Cuber,Julie Asriyan,瑪格麗特·里德,Kamal Ahmed故事發(fā)生在萬(wàn)圣節(jié)的當(dāng)晚，塔拉（Jenna Kanell 飾）和道恩（Catherine Corcoran 飾）醉醺醺的從一個(gè)派對(duì)中離開(kāi)，走在清冷的大街上，兩人打算去一家披薩店弄點(diǎn)吃的，一個(gè)小丑打扮的男人尾隨她們也進(jìn)入了店里，雖然小丑的樣貌十分可怖，但個(gè) 性似乎還挺可愛(ài)的，除了他把店里的廁所弄的一團(tuán)糟，氣炸了店主。 之后，塔拉和道恩離開(kāi)了店里，塔拉進(jìn)入了一間公寓上廁所，道恩在路邊等她，小丑再度出現(xiàn)在了她的身后，這一次，小丑想做的便不僅僅是逗她笑這么簡(jiǎn)單了。小丑打暈了塔拉，當(dāng)塔拉再度醒來(lái)時(shí)，映入眼簾的，是被倒掛的道恩和在一邊手持電鋸的小丑。
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.