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圣母瑪利亞
安妮·海瑟薇,米凱拉·科爾,亨特·莎弗,小枝女孩,雅典娜·弗里澤爾,凱雅·基伯,杰西卡·布朗·芬德利,伊紹拉·巴貝-布朗,阿爾芭·巴普蒂斯塔,茜安·克利福德,帕里納斯·埃斯梅爾薩德,勞拉·米金,朱莉婭·斯托爾巴,丹尼·維塔勒血咒圣痕
藤原啟治至尊馬蒂
提莫西·查拉梅,格溫妮斯·帕特洛,敖德薩·阿德隆,凱文·奧利里,泰勒·奧康馬,桑德拉·伯恩哈德,阿貝爾·費(fèi)拉拉,喬什·伯恩,亞歷山大·布里尼策,丹尼斯奎里根,泰勒·戴蒙德,蓋佐·羅赫里格,法蘭·德瑞雪,弗朗西斯·杜莫里耶,凱文·埃克爾斯頓,約里斯·斯圖克,克里斯蒂安·伊格弗丹斯,布萊克·吉奧維蒂,斯賓塞·格蘭斯,托雷·希爾噴火女郎
邱淑貞,鄭丹瑞,鄭裕玲,葉德嫻,朱江,黎小田,文雋,黎彼得,程東,陳慧儀,苑瓊丹,李兆基,劉松仁禁果2026
莉莉·萊因哈特,羅拉·董,加布里埃爾·尤尼恩,維多利亞·佩德雷蒂,亞歷山德拉·希普,大衛(wèi)·皮納德,奧斯汀·鮑爾,艾瑪·張伯倫,查理·亨利·拉爾森,西德哈特·沙瑪,海莉·莎莫,Caroline Vartanian,喬丹·杜阿爾特,Jeff Sinasac,Katherine Cruz伊沃克人:為恩多而戰(zhàn)
Wilford Brimley,Aubree Miller,Sian Phillips同類推薦
取款機(jī)殺人夜
愛麗絲·伊芙,喬希·佩克,布萊恩·格拉格提,阿隆·休斯,奧馬爾·可汗,威爾·沃伊托維希,格倫·湯普森一年一度的圣誕佳節(jié)終于到來,在狂歡派對上,投資公司職員大衛(wèi)(布瑞恩·杰拉夫迪 Brian Geraghty 飾)終于鼓起勇氣向剛剛辭職的美麗女職員艾蜜莉(艾麗絲·伊芙 Alice Eve 飾)搭話,聚會中途,二人驅(qū)車和他們的朋友科瑞(喬什·派克 Josh Peck 飾)一同返回。此時已近深夜,希望買點(diǎn)兒什么吃的的三個人進(jìn)入某自動提款機(jī)服務(wù)站取錢,可是正待出門時卻發(fā)現(xiàn)一個神秘陰森的身影站在外面,后者更在眾目睽睽之下殺了一個陌生的流浪漢。 大衛(wèi)等人就這樣被困在方寸之間,看似隨機(jī)的襲擊事件,一切似乎又盡在神秘之人的掌控之中,他們最終能否逃脫?還是成為恐怖襲擊者的犧牲品?
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.
食人豬
嚴(yán)泰雄,鄭有美,張恒善,尹宰文位于韓國某山區(qū)的智翼村,是一座號稱零犯罪村的旅游勝地。每到假期或周末,全國各地的游客云集于此,享受難得的快樂生活。為了吸引更多的游客,智翼村相繼開發(fā)了高爾夫球場合周末農(nóng)場,為此砍伐了大量的原始叢林。野生動物的生存環(huán)境遭到破壞,加上偷獵者的侵?jǐn)_,野豬數(shù)量急劇減少。為了生存,野豬開始挖掘人類的墳?zāi)梗惺墒w,由此對人肉產(chǎn)生了濃厚的興趣。 某天,村中一名獵人孫女的尸體被人發(fā)現(xiàn),她的尸體破碎不堪,只留下頭顱。經(jīng)法醫(yī)鑒定和老獵人的觀察,這起慘案系一頭是人野豬所為。在此之后,武裝精良的獵人們來到智翼村,人獸的戰(zhàn)爭漸次白熱化……
童使
瀧澤秀明,有岡大貴,門脅麥本作導(dǎo)演為清水崇,共演演員為有岡大貴和門脇麥。takki飾演能操縱孩子靈魂并對施虐大人下死亡詛咒的神秘男子。大貴飾演追尋真相的記者,門脇麥則飾演他的女朋友。該片定于6月17號日本上映。
風(fēng)來之所
Slim Baccar,桑杜斯·哈桑,Eya Bellagha,Maya Blouza,穆罕默德·格拉亞,Lassaad Jamoussi,Saoussen Maalej,Lobna Noomene自父親去世以來,19歲的阿麗莎成了她患有抑郁癥的母親和年幼妹妹的照顧者。她只想逃離自己的責(zé)任以及身邊的痛苦。她最好的朋友梅赫迪(23歲)性格內(nèi)向,患有白癜風(fēng)。盡管他有文憑,卻仍然失業(yè),這讓他覺得自己對不起家人。兩人都用幽默和想象力來逃避艱苦的生活。梅赫迪講述并繪制超現(xiàn)實(shí)主義的故事,而阿麗莎則盡可能地重新塑造自己的現(xiàn)實(shí)。當(dāng)他們得知全國范圍內(nèi)舉辦的一場繪畫比賽可能會改變他們的生活時,他們偷了一輛車,開始了一場瘋狂的公路旅行。他們的友誼經(jīng)受了考驗(yàn),他們發(fā)現(xiàn)了突尼斯最好的一面和最壞的一面。他們的希望破滅了,但他們的旅程改變了他們。三個月后,梅赫迪非法移民離開了,因?yàn)榘Ⅺ惿療o法拋下她的家人。