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镖人：风起大漠
吴京,谢霆锋,于适,陈丽君,孙艺洲,此沙,李云霄,梁家辉,张晋,惠英红,张译,李连杰,刘耀文,熊瑾怡,莒谦朗,白那日苏,梁壁荧,文俊辉,董思成,林秋楠,景瓷,张艺泷,李嘉辉,寇占文,代乐乐,释彦能,徐向东,淳于珊珊,孟鹤堂,于荣光,陈少熙,赵箭,袁和平大漠之上，镖人、官府、西域五大家族等多方势力盘根错节、暗潮涌动。“天字第二号逃犯”刀马接下特殊押镖任务，和同伴一起从西域护镖远赴长安。不料，他们的护送对象竟是“天字第一号逃犯”知世郎……天下熙熙皆为利来，各方势力闻风入局，抢镖厮杀接连上演……
深入阴宅
辛政顺,尹伊娜,申素媛在京畿道有一所废弃的住宅，此前曾属于一名金姓老板，他所经营的食品工厂蒸蒸日上，然而他因外遇而和妻子关系日渐恶劣。某天，金老板一家五口被人残忍杀害，与之有染的女员工也下落不明。附近百姓传说女员工早被杀死，她的怨灵屠杀了金老板一家，金老板的住宅也成了当地著名的鬼宅。 2010年的一天，电视台《废家探访》剧组慕名前来，但是包括制作人李永珠、导演崔圭石、录音记者程智英、废家探访队员任万首、万美真、崔雨岚一行六人最终神秘失踪。6月的一天，摄制组的录像带素材重现天日，经过一番修复，摄制组成员们最后那段恐怖的经历得以展现世人面前……
我，许可
文淇,秦海璐,白客,李雪琴,牛莉,刘佳,啜妮,王和,张馨文,张懿曼,黄少峰,李哲霆,黄博远,李冠廷,刘杰毅,合文俊,翟韬00后“母单”女孩儿许可（文淇 饰）面临一场迫在眉睫的妇科手术，却因妈妈胡春蓉（秦海璐 饰）的突袭式造访打乱了所有计划。母女同居，冲突乍起。在新旧观念的摩擦中，没想到女儿对妈妈展开了一次又一次反向教育——跟妈谈心，不如带妈蹦迪；给妈上生理课，不如直接送妈小玩具……最终许可能否顺利手术，胡春蓉又能否鼓起勇气开始新生活？这场笑点和泪点齐飞的大戏，又将如何重塑两人之间的母女关系……
阴阳师2001
野村万斋,伊藤英明,今井绘理子,小泉今日子 Kyôko Koizumi,真田广之,夏川结衣,宝生舞,矢岛健一,石丸谦二郎,柄本明,岸部一德,萩原圣人公元794年，日本桓武天皇时期，京都长冈被其胞弟早良亲王怨灵诅咒，天灾人祸不断。桓武天皇被迫迁都平安京，由此开启四百年平安时代序幕。彼时权贵内部斗争激烈，人民生活疾苦，世间因此怨灵丛生，人、鬼与怪物屏息同栖。隶属于宫廷阴阳寮的阴阳师们，作为平衡天、地、人、鬼间矛盾的存在，自此活跃在历史舞台上，其中最为耀眼的便是身世成谜的安倍晴明（野村万斋 饰）。右近卫中将源博雅（伊藤英明 饰）受托拜访安倍晴明，被所目睹的奇异景象及晴明的个人魅力深深折服；晴明亦被博雅正直的品德吸引。故事便从两人宿命相识，结下珍贵情谊开始。 宫廷内近来异事频发。左大臣藤原师辅之女诞下敦平亲王，婴儿降世却身负诅咒。晴明招来蜜虫（今井绘理子 饰）和神秘女子青音（小泉今日子 饰），与博雅一同化解恶咒，却反遭诬陷。原来一切皆是阴阳头道尊（真田广之 饰）所为。他利用左右大臣间矛盾与后妃间争宠频生事端，更欲召唤出150年前的最强怨灵早良亲王，将平安京彻底颠覆…… 影片根据梦枕貘《阴阳师》系列小说改编。
驱魔龙族马小玲
黄宗泽,吴千语,蔡洁,吕良伟,刘心悠,廖子妤,黄文慧,朱栢康,吴启洋,黄梓乐,万绮雯,苏丽珊,郭柏妍驱魔龙族马氏家族传人马小玲（吴千语 饰），肩负着除邪惩恶的家族使命。而二流侦探况天佑（黄宗泽 饰），则凭借奇特能力屡破奇案。但实际上他一直在掩饰着不死不灭疯狂噬血的“血族”身份，本来相安无事的日子，被一道“暗影”打破，两人在调查一起暗影袭击的事件中相遇，出生入死的瞬间，百年恩怨所结下的宿命之锁，似乎已悄然解开……
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.