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ST红与白的搜查档案电影版
藤原龙也,芦名星,冈田将生,志田未来,濑户朝香,渡部笃郎,洼田正孝,林遣都,水上剑星,三宅弘城,柴本幸,田中哲司国际大都会日本东京，光天化日之下发生了性质极其恶劣的抢劫案。某个十字路口发生诡异的交通事故，科学搜查班（ST）的各位顺藤摸瓜查清了事故的始作俑者——天才黑客镝木彻（中山裕介 饰）。但是ST的领导者赤城左门（藤原龙也 饰）面对众人对镝木的指控闪烁其词，他支开百合根友久（冈田将生 饰），独自前往镝木的住所。未久，镝木葬身火海，而赤城作为重要嫌疑人被同僚拘捕。青山翔（志田未来 饰）、结城翠（芦名星 饰）、黑崎勇治（漥田正孝 饰）、山吹才藏（三宅弘城 饰）等手下自然不会相信赤城的认罪供词，他们想方设法要查清真相，而百合根更为此故意犯罪进入拘留所，试图近距离听取赤城的心声。而就在关键时刻，赤城越狱逃亡…… 本片根据今野敏的原作改编。
死亡阴影
迈克尔·比恩,亚历山德拉·达达里奥,布雷特·里克比,诺兰·杰拉德·冯克,斯宾塞·李斯特,约翰·萨维奇,佩顿·李斯特,凯瑟琳·迈瑟尔,瓦伦蒂娜·德·安吉丽斯1989年，位于宾夕法尼亚州的东部矿区麦诺斯维尔小镇，年仅6岁的小男孩马丁·布里斯托尔（蔡斯·佩哈切克 Chase Pechacek 饰）被人绑架。在此后的5年里，马丁身在何处？又经历了什么？无人知晓。 1994年的一天，父母双亡的少女艾莉森·米勒（亚历珊德拉·达达里奥 Alexandra Daddario 饰）随叔叔乔纳森（迈克尔·比恩 Michael Biehn 饰）搬到麦诺斯维尔居住。这个出身大城市的女孩渐渐适应了这个偏远乡间的生活，也结识了帅气的男孩威廉（诺兰·吉拉德·范克 Nolan Gerard Funk 饰）。但是新生活的阳光很快退去，那幢废弃的农舍引起了艾莉森注意。她不知道，失踪已久的马丁也在黑暗中注视着他，这个男孩过早地见识了事件最为残酷与血腥的一面……
惩罚者：最后一击
乔·博恩瑟,杰森·R·摩尔,朱迪斯·赖特,黛博拉·安·霍尔,安德烈·罗佑,尼克·库马拉索斯,贾马尔·劳埃德·约翰逊,多米尼克·曼齐诺,约瑟夫·德维托,大卫·曼努埃尔,多纳尔·奥·赫莱,约翰·道格拉斯·汤普森弗兰克（乔·博恩瑟 饰）在寻找复仇之外的人生意义时，被一股意想不到的力量拉回了战斗。
柔情挚我
薇姬·克里普斯,莫妮亚·乔柯里,维果·费雷拉-雷迪尔,安托万·赖纳茨,费奥多尔·阿特金,朴智敏,Manuel Vallade,奥拉利亚·佩蒂特,萨利夫·西塞,朱利安·德·圣·让,玛洛·赫比齐,安娜·西加勒维奇,Tallulah Cassavetti,安东尼·米切尔,乌姆尼亚·哈纳德她离开丈夫与儿子，也离开稳定的律师工作，在泳池、露天咖啡厅与私人公寓自在游走。以写作寄托生活，对儿子的爱未减半分，与丈夫也亲如挚友，直到那日，她向丈夫吐露与女性的亲密关系，完美生活旋即化为一场幻梦。在失去监护权后，她不得不在机构间穿梭，为了见儿子一面奋力一搏，却不知这样的困境，何时能走到尽头？
爱情坐标
凯莉·罗兰,马索·曼恩,Chris Kapeleris,亚历桑德拉·卡斯蒂略,梅兰妮·利什曼,罗宾·席德,安妮·冈萨雷斯,大卫·皮纳德,Nck Name,丹尼尔·马力克, 卡洛斯·冈萨雷斯-维奥,Elena Khan,Melissa Bray,Ava Blackwood,Connie Manfredi,Ronald P Boone Jr.,Cynthia Menard,Arabella Williams,安德·雷特尔,Hannah Yohannes探索现代浪漫的起起落落。
等待方舟
耶日·斯图尔,克里斯提娜·杨达,卡里娜·谢鲁斯克,马里乌什·德莫霍夫斯基,马雷克·瓦尔切夫斯基,扬·诺维茨基,亨里克·比斯塔,莱昂·涅姆奇克,克兹佐夫·马扎克,斯坦尼斯瓦夫·伊加尔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.