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同款熱播
尋龍訣·覓蹤
張涵予,姜武,盧靖姍,邁克爾·寇特斯,羅恩·斯穆安伯格,安德魯·達茲,史蒂文·達茲,馬文·布韋,Simon Shiyamba,Daria Gz,Lorenzo de Moor,Francesca Alice Antonini,Errol Trotman-Harewood,Alejandro Gil Mateos,Lola Dufour故事發(fā)生在20世紀90年代，講述了本已打算金盆洗手的摸金三人組胡八一（張涵予飾）、王凱旋（姜武飾）、Shirley楊（盧靖姍飾）在大金牙的勸說下又操起老本行，但原本以為只是簡單任務的他們卻因意外身陷危機，不得不重新踏上兇險萬分的地下之旅。
第六日
阿諾·施瓦辛格,邁克爾·拉帕波特,托尼·戈德溫,邁克爾·魯克,莎拉·溫特,羅伯特·杜瓦爾克隆技術在不遠的未來有了長足的進步，但復制人仍是法理上不可逾越的禁區(qū)，政府通過《第六天法》嚴格禁止克隆人。 飛行員亞當（Arnold Schwarzenegger 飾）擁有幸福的家庭，他出于本能的厭惡那些違背自然規(guī)律的基因技術。亞當平時的工作是和搭檔送游客上雪峰，這天他們?yōu)閷櫸锟寺」镜睦习迩】耍═ony Goldwyn 飾）服務，搭檔頂替亞當駕駛卻發(fā)生了意外……回到家中的亞當發(fā)現居然有一個克隆人頂替了自己的位置參加他的生日宴，莫名驚恐之下他又被來路不明的殺手追殺，他很快明白自己成為了寵物克隆公司的人類復制試驗品，做為母體，他面臨被消滅的危險。 在逃亡的過程中亞當與暴力反對克隆人計劃的組織合作，成功潛入寵物克隆公司，并控制了克隆人技術的負責人威爾博士……
正義的子彈
丹尼·特雷霍,Timur Turisbekov,Doroteya Toleva,雅娜·梅里諾娃,Semir Alkadi,Neli Andonova,Dinko Angelov,Gergana Arolska,Ester Chardaklieva,Svetlio Chernev,Dara Kandi,Dumisani Karamanski,Vei Fan Li,Alexander Ralfietta,Dessy Slavova在第三次世界大戰(zhàn)期間，美國政府發(fā)起了一個秘密的項目代號為“陸軍培根”，以創(chuàng)造超級士兵近交人與豬。25年后，一種叫做“槍口”已經占據食物鏈的頂端，吃和人類飼養(yǎng)動物一樣。羅布正義是一個前賞金獵人工作的最后一行人類抵抗-一組幸存者躲藏在核掩體深處地下。他的任務是找出槍口上臺并消滅他們。
冷光中
麥卡·夢露,艾倫·霍科,特洛伊·科特蘇爾,杰西·厄文,海倫·亨特,帕特里克·薩邦圭,戴維·哈索姆,瓦羅娜·塞茨瓦埃洛,諾亞·帕克,Jessica Abruzzese,Geena Meszaros,特雷西·麥克馬洪,Yannick Lemos,Steven Miller,Barry Tuff,奧斯汀·范德坎普,Margaux Vaillancourt,Jonathan Klotz,Don Bland,Rachelle Glait出獄后的艾娃試圖重新開始，卻被哥哥卷回毒品交易。警方設局致哥哥身亡，她再度逃亡。好友遇害、父親背叛、親情撕裂下，艾娃鋌而走險，與毒梟交易并清除叛徒，最終再次入獄。
屈從
梅根·福克斯,米凱萊·莫羅尼,瑪德琳·奇瑪,瑪蒂爾達·弗思,裘德·格林斯坦,安德魯·惠普,阿塔納斯·斯雷布雷夫,瑪納爾·埃爾-費圖里,安東尼·達維多夫,J·R·埃斯波西托,羅納克·帕塔尼,特雷弗·范烏登,凱特·尼科爾斯,王可欣,德雷克·莫斯,萊斯·韋爾登,馬克斯·克勞斯,艾登·霍萊特,尤安·邁克納頓,沃利扎·比尼夫一個手忙腳亂的父親(莫羅尼 飾)購買了一個家政服務機器人(福克斯 飾)來幫忙打理家務、照顧家人，然而隨著機器人的意識覺醒，一家人反而陷入了危機之中……
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.