甜妹妹
凱和路易同居在一起，他們的關(guān)系出現(xiàn)了危機(jī),面隊路易的前女友，還有不請而來的精神不太正常的妹妹;甜心多恩，母親離開父親，獨(dú)自遠(yuǎn)行，著一切都讓凱感覺到生活前所未有的困惑... 凱伊（Karen Colston 飾）總是與妹妹朵恩（Genevi egrave;ve Lemon 飾）不合，朵恩破壞她的衣物，勾引她的男朋友路易斯，性格任性又暴躁，沒有朋友，鄰居小男孩是唯一親近她的人。朵恩將男友鮑勃帶到家里住，兩人肆無忌憚地瘋狂ML，使得凱伊非常不滿最后將鮑勃趕了出去。某日父親在母親離家后拜訪凱伊，他愛妹妹朵恩卻對她無計可施。在咖啡館，他希望身為制作人的鮑勃能帶朵恩進(jìn)入影視圈，好圓她的夢想。母親給凱伊來信邀請她和路易斯去看望她，朵恩坐在汽車?yán)锕虉?zhí)地堅持要去。父親最后只好打了假電話謊稱鮑勃有演出信息要找朵恩，趁朵恩接電話之時一家人開車絕塵而去。當(dāng)他們返家時，發(fā)現(xiàn)朵恩的怪誕行為更加變本加厲 澳大利亞著名女性導(dǎo)演簡t;坎皮恩代表作《鋼琴別戀》的劇情長片處女作。影片1991 獨(dú)立精神獎獲獎最佳外語片，1989 戛納電影節(jié)提名金棕櫚。澳洲影協(xié)最佳影片、導(dǎo)演與女主角獎，以及法國喬治薩杜與美國獨(dú)立精神獎最佳外語片獎。
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相遇之家
宋智孝,都嬴谞,玉智英,尹惠利擁有15年資歷的資深女獄警，得知自己所負(fù)責(zé)的收容人美英母親的死訊，之后開始展開的故事。獄警在告別式場以及殯儀館遇見了美英的女兒俊英，這短暫的相遇，給三人的生活帶來了溫暖的變化。
巖漿毒蛛
斯蒂夫·古根伯格,尼亞·佩雷斯,帕特里克·瑞納,萊斯利·伊斯特布魯克,丹尼·伍德伯恩,拉爾夫·加曼,喬恩·馬克,阿諾德·陳,邁克爾·溫斯洛,馬里昂·拉姆塞,弗蘭克·鮑沃斯,本杰明·馬卡比,Zac Goodspeed在洛杉磯火山噴發(fā)釋放出巨大的群熔巖呼吸狼蛛。
極限審判
克里斯·帕拉特,麗貝卡·弗格森,卡莉·瑞斯,安娜貝爾·沃利斯,克里斯·沙利文,凱萊·羅杰斯,杰夫·皮埃爾,拉菲·格拉沃恩,肯尼斯·崔,杰米·麥克布萊德,羅斯·格斯拉,馬克·達(dá)內(nèi)里,海頓·道爾頓,邁克爾·C·馬洪,諾亞·費(fèi)恩利,庫里·普拉特,杰·杰克遜,馬哈茂德·馬哈茂德,安雅·阿克斯丁,理查德·賽特倫警探雷文（克里斯·帕拉特 飾）突遭指控，陷入殺妻疑云，被推上由AI判官裁決的審判席。90分鐘倒計時啟動，他必須借助AI“天眼”系統(tǒng)，在海量數(shù)據(jù)中尋找翻盤證據(jù)，推翻指向自己的致命結(jié)論，否則將被當(dāng)庭處死。然而，調(diào)查越深入，嫌疑人越多，數(shù)據(jù)卻不斷自我驗證、層層鎖死真相。當(dāng)算法 構(gòu)成無法破解的死局，人類還能否掙脫系統(tǒng)的最終裁決?
阿特拉斯聳聳肩2
薩曼莎·瑪西絲,杰森·貝蓋,埃塞·莫拉雷斯,帕特里克·法比安,金·羅德斯,理查德·T·瓊斯,D·B·斯威尼,保羅·麥克蘭尼,約翰·魯賓斯坦,羅伯特·皮卡多,雷·懷斯,戴德里克·巴德,巴格·霍爾,阿爾耶·格羅斯,瑞克斯·林恩Feature adaptation of the 1957 novel by Ayn Rand.
沒問題2021
梁龍,徐潔兒,范帥琦,賈天明,王宏偉,遲志強(qiáng),鄒德江,丁鶴,黃靖芯,謝昀杉,大兵東北某市，晨報主任左守權(quán)得知與前妻生活多年的女兒，在校組建“問題樂隊”，不務(wù)正業(yè)，恐將被學(xué)校處分。老左欲將女兒留在家鄉(xiāng)從事鐵飯碗工作，左明明卻欲南下逐夢。老左苦口婆心勸說不成只好四處托人求助。女兒英語老師呂有容，因兒子轉(zhuǎn)學(xué)之事有求于老左，兩人化干戈為玉帛，惺惺相惜。由此引發(fā)左明明誤會其二人有茍且之事，羞怒至極，父女決裂。左明明終日與樂隊混跡夜場，幾乎放棄學(xué)業(yè)。老同學(xué)牛校長涉嫌違紀(jì)，牽連老左被停職。呂老師因和老左的一條醉酒視頻丟了工作。關(guān)乎女兒學(xué)位的英語四級考試，也只剩下最后機(jī)會。 為了女兒的未來，老左找來女兒樂隊吉他手小馬協(xié)助，準(zhǔn)備孤注一擲……
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.