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太空異種2026
魏璐,林妍柔,柳揚(yáng),王銘,安澤豪,王勉,鄒瑋祺,孫競(jìng)爭(zhēng),朱智煌,劉靜怡未來(lái)世界，在一艘名為“蒼穹號(hào)”的飛船上，船長(zhǎng)梁承天帶領(lǐng)著船員們經(jīng)常在星際之間從事采集礦物質(zhì)的買賣，以此來(lái)獲得巨大的經(jīng)濟(jì)利益。雖然他們?cè)诙啻尾杉^(guò)程中偶爾會(huì)遇到危險(xiǎn)，但最終也都能安全返航。 直到這次，梁承天帶著船員們?cè)阢y河系中，意外找到一顆六千萬(wàn)年前爆炸的超新星，他們?cè)诟浇杉搅讼∮械牡V物質(zhì)，從而能獲得巨額利益。可因利益分配不均，各懷心事的船員們就此踏上返航之旅。 在返航途中“蒼穹號(hào)”意外接到了一組未知的求救訊號(hào)。他們成功救下了“創(chuàng)世紀(jì)號(hào)”的生物學(xué)家林修遠(yuǎn)和他的妻子Angel，而梁承天在救援的過(guò)程中也意外受傷。
外出時(shí)刻
羅蘭·拉斐特,埃馬紐埃爾·貝克特,帕斯卡爾·格雷戈里,格雷戈里·蒙泰爾,安娜·盧瓦雷,Cyrille Hertel,盧安娜·巴杰拉米,Victor Bonnel,格林奇,托馬斯·西梅卡,蓋伊·托馬斯,Véronique Ruggia羅蘭·拉菲特([她])、艾瑪紐爾·貝克特([我的國(guó)王])主演新片[外出時(shí)刻]( L’heure de la sortie，暫譯)進(jìn)入拍攝后期。本片由塞巴斯蒂安·馬赫尼耶自編自導(dǎo)。故事講述皮埃爾因一位年輕老師自殺，作為填補(bǔ)進(jìn)入圣·約瑟夫?qū)W院工作。他很快發(fā)現(xiàn)這里青少年散發(fā)著一種敵意。本片預(yù)計(jì)8月2日殺青。
恐影檔案
Thomas Dekker,Robert Englund,Fiona DourifA doctor works to cure patients suffering from crippling phobias by placing them inside his invention which induces and controls hallucinations.
天啟四騎士
丹尼斯·奎德,章子怡,盧·泰勒·普奇,小克利夫頓·克林斯蘭斯林（丹尼斯·奎德 Dennis Quaid 飾）警官同時(shí)也是一個(gè)單身父親，因公務(wù)繁忙，他無(wú)暇照顧兩個(gè)兒子，大兒子亞歷克斯無(wú)形中時(shí)常扮演父親的角色。最近蘭斯林被一樁連續(xù)殺人案纏住，每個(gè)兇案現(xiàn)場(chǎng)都發(fā)現(xiàn)了至少四名嫌疑人的蹤跡，并且統(tǒng)一留下了“過(guò)來(lái)看”的血色留言，死者死于懸掛的狀態(tài)充滿了宗教意味，蘭斯林從人體懸掛的鐵架入手，發(fā)現(xiàn)這一干罪犯以殺人作為宗教儀式，并且以啟示錄中記載的“天啟四騎士”自居。第一個(gè)受害者的華裔養(yǎng)女克里斯汀（章子怡 飾）主動(dòng)找到蘭斯林，坦承了自己與連續(xù)殺人案的關(guān)系，但是這不能阻止更多人受害，蘭斯林驚見(jiàn)自己最不愿意看到的事情發(fā)生了……
弗蘭肯斯坦計(jì)劃
莉莉·莫羅利,凱內(nèi)爾·穆德盧佐,米克洛什·B·塞凱伊,迪亞·麥格唐娜·凱斯,卡塔·韋伯,山大·特赫斯,魯?shù)婪颉じベ嚻婵?Kitty Csíkos,Natasa Stork,ági Margittay盧迪（凱內(nèi)爾·穆德盧佐 Kornél Mundruczó 飾）從小就成長(zhǎng)在孤兒院中，他剛一出生就被父母無(wú)情的拋棄了，從來(lái)都沒(méi)有感受過(guò)親情的滋味。17歲時(shí)，對(duì)父母的思念在盧迪的內(nèi)心里愈演愈烈，他決定動(dòng)身去尋找他們的蹤跡。但很快，殘酷的現(xiàn)實(shí)就讓盧迪知道，他的存在對(duì)于他的親人們來(lái)說(shuō)或許并非一件好事。 一次偶然中，盧迪得到了一次試鏡的機(jī)會(huì)。導(dǎo)演被盧迪身上所散發(fā)出來(lái)的陰郁氣質(zhì)深深的吸引了，認(rèn)為他就是扮演自己電影里角色的不二人選。可是造化弄人，導(dǎo)演并不知道，眼前的這個(gè)年輕人，正是他早些年間拋棄的兒子。
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.