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恐怖高速
艾琳·迪茨,西蒙·飛利普斯,Shannon Dalonzo,約翰·D·希克曼,賈斯汀·戈登,James Politano,Jessica Gray,Briahn Auguillard,Robin Bookhout,Heather Rozzo大帝機(jī)器人
伊武雅刀,洞口依子,森本治行,吉田友紀(jì)尼諾
西奧多·佩爾蘭,威廉·勒布吉?dú)W,莎樂(lè)美·德瓦斯,讓娜·巴利巴爾,卡米莉·拉瑟福德,埃斯特爾·梅耶爾,維克圖瓦爾·杜布瓦,馬修·阿馬立克,Pascale Oudot,Ma?l Besnard,Elodie Roy,Amaury Arboun,利森·丹尼爾,Charlotte Lainé,Balthazar Billaud,艾爾莎·布尚,Quentin Gouget,Alexandre Desrousseaux,Mounir Belhidaoui,Lola Felouzis捕蛇者說(shuō)
冒牌大賊
黃日華,林憶蓮,左頌升致命錄像帶
Calvin Reeder,萊恩·休斯,亞當(dāng)·溫加德,Hannah Fierman,Mike Donlan,Joe Sykes,Drew Sawyer同類推薦
扭曲
克里斯蒂娜·里奇,布蘭登·弗萊徹,維斯勒·夏農(nóng),約翰·庫(kù)薩克,妮科爾·安東尼,奧利弗·萊斯,斯科特·奧林克,安杰拉·奎恩,巴里·納林,朱麗婭·馬克斯維爾,馬特·布朗32歲的勞倫·柯倫（克里斯蒂娜·里奇）和丈夫羅素（布萊登·佛雷切）搬進(jìn)了設(shè)備先進(jìn)齊全的新公寓。剛剛因?yàn)槭ズ⒆佣馐芰诵睦韯?chuàng)傷患躁郁癥的勞倫對(duì)公寓的安保監(jiān)控系統(tǒng)很滿意，但隨后發(fā)現(xiàn)公寓里有些不對(duì)勁，她懷疑酒店的擁有者暗中非法操控住在其中的用戶，但她的丈夫認(rèn)為這些都是她的想象。勞倫獨(dú)自開(kāi)始調(diào)查建造公寓的公司，并雇傭了一個(gè)幫手-陰謀論者弗儂·沙斯菲爾德（約翰·庫(kù)薩克）。弗儂認(rèn)為這間公寓是個(gè)試驗(yàn)場(chǎng)所，里面的住戶是個(gè)巨大洗腦陰謀的小白鼠。隨著調(diào)查深入，勞倫也遇到了生命威脅……
沒(méi)問(wèn)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(bào)主任左守權(quán)得知與前妻生活多年的女兒，在校組建“問(wèn)題樂(lè)隊(duì)”，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(mèng)。老左苦口婆心勸說(shuō)不成只好四處托人求助。女兒英語(yǔ)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(huì)其二人有茍且之事，羞怒至極，父女決裂。左明明終日與樂(lè)隊(duì)混跡夜場(chǎng)，幾乎放棄學(xué)業(yè)。老同學(xué)牛校長(zhǎng)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(yǔ)四級(jí)考試，也只剩下最后機(jī)會(huì)。 為了女兒的未來(lái)，老左找來(lái)女兒樂(lè)隊(duì)吉他手小馬協(xié)助，準(zhǔn)備孤注一擲……
僧侶
文森特·卡塞爾,黛博拉·弗朗索瓦,約瑟芬·約比,塞爾希·洛佩斯,凱瑟琳·蒙切特,喬迪·道德?tīng)?杰拉丁·卓別林,羅珊妮·杜蘭,Frédéric Noaille,Javivi,Martine Vandeville,Pierre-Félix Gravière,塞爾日·費(fèi)拉德,恩斯特·吳默埃,Jean-Francois Vendroux,讓-克洛德·杜芬阿姆布羅瑟（文森特·卡索 Vincent Cassel 飾）是一名非常虔誠(chéng)的修道士，早就發(fā)誓將自己的身體和心里全權(quán)交由上帝管理。苛刻而又嚴(yán)格的他對(duì)教義有著自己獨(dú)特的理解，他覺(jué)得世人每一日都在玷污上帝的存在。瑪?shù)倌确浅５某绨莅⒛凡剂_瑟，她的順從和服從激發(fā)了阿姆布羅瑟潛藏在心底的獸欲，欲望一旦被激發(fā)，就無(wú)法收拾，阿姆布羅瑟一步一步向著深淵走去。 安東尼婭（約瑟芬·約比 Joséphine Japy 飾）是常常前往修道院為自己的母親禱告的女孩，她的純潔吸引了阿姆布羅斯的注意，后者為了能夠占有她的身體，不惜設(shè)計(jì)將她的母親殺死。最終，阿姆布羅瑟的種種罪行被一個(gè)貴族青年給發(fā)現(xiàn)了。
黑暗深處
塞繆爾·勒·比漢,阿米爾·艾爾凱塞,讓-雨果·安格拉德,托馬·索利韋爾,迭戈·馬丁,布魯諾·桑切斯,馬克·里索,安托萬(wàn)·巴斯勒,Wabinlé Nabié,Rachid Guellaz,Mohamed Aroussi,米卡埃爾·菲圖西,Arthur Guivarch,Carl Laforêt,Yves Turi,菲利普·托雷頓菜鳥(niǎo)上班第一天就聽(tīng)到老鳥(niǎo)說(shuō)，最近礦場(chǎng)有人失蹤或重傷。礦場(chǎng)老板告訴他們，只要查明真相愿意給予豐厚賞金。在來(lái)到事發(fā)礦區(qū)后，他們卻看到白骨與干枯血跡。嚇得一群人試圖回到地面，卻發(fā)現(xiàn)入口意外被堵死，同伴還被嗜血怪物襲擊。漆黑的地下，怪物在身后逼近，他們能否就此逃脫，誘惑是成為怪物口中的佳肴？
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.