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成長難題
西爾維亞·阿隆索,巴巴拉·戈納加,Vito Sanz,瑪利亞·艾絲蒂芙,安東尼奧·雷西內斯Emma wakes up in her thirties to find herself a loser when her best friend Lola asks her to be the guardian of her about to be born child.
LAST MAN-全盲搜查官- FAKE／TRUTH
福山雅治,大泉洋,永瀨廉,今田美櫻,松尾諭,今井朋彥,奧智哉,木村多江,吉田羊,松本若菜,吉田鋼太郎,向井康二全盲的FBI特別搜查官皆實廣見（福山雅治 飾）被稱為“終結一切案件的最后王牌”。他自日本研修返美后，警視廳搜查一課的護道心太朗（大泉洋 飾）前往美國受訓，兩人在華盛頓與紐約繼續加深“無敵搭檔”的默契。半年后心太朗歸國，兩人再次分隔兩地。 2025年，皆實因電視節目回到日本，卻遭遇電視臺被全副武裝的恐怖分子占領。他與主播播摩美咲（松本若菜 飾）、首相五之橋義實（吉田鋼太郎 飾）等人被劫持，對方威脅若拿不出10億美元贖金，將在東京引爆炸彈，引爆前所未有的危機。得知皆實被囚的心太朗火速趕往現場，卻發現負責接待皆實的佐久良（吉田羊 飾）已隱藏在內部——一場跨國搭檔再度攜手的極限救援正式拉開序幕。
挑戰未來3：殘酷獵殺
Sue Price,蒂姆·湯默遜,諾伯特·魏塞爾利用《電子戰場2》留下的片段和一條非常細的故事線，亞歷克斯再次與1998年在非洲東部的機器人雇傭兵作戰。這一次，亞歷克斯發現她有20個半姐妹正在等她回到2077年。中央司令部希望亞歷克斯被活捉并掃描，看看她的DNA是否比正常的DNA更強更有力。但是亞歷克斯可能太苛刻了，不值得去捕捉。
郊狼2025
賈斯汀·朗,凱特·波茨沃斯,米拉·哈里斯,布列塔尼·艾倫,凱瑟琳·麥克納馬拉,基爾·奧唐納,諾爾貝特·里奧·布茨,諾瑪·妮維雅,Kevin Glynn在好萊塢山脈，一場兇猛的野火肆虐，一家人不得不與一群兇惡的郊狼展開生死搏斗。烈火和野獸雙重威脅之下，險象環生的求生之戰一觸即發。面對無情的火焰和兇殘的野獸，他們能否在這場浩劫中幸存下來？
計劃趕不上變化
丹尼·伯恩 Dany Boon,嘉蓮·維雅 Karin Viard,艾瑪紐爾·塞尼耶 Emmanuelle Seigner,瑪麗娜·漢斯,帕特里克·布魯爾,瑪琳娜·佛伊絲故事發生在浪漫之都法國。每年夏天，這里都要舉行盛大而又歡樂的音樂節，每逢此時，整個城市都會沉浸在快樂的海洋之中。很多人選擇在音樂節來臨前夕報名舞蹈培訓班，增長一下自己的舞技，以便更為充分的享受這個節日。著名的女律師馬莉（嘉蓮·維雅 Karin Viard 飾）和丈夫皮耶特（丹尼·伯恩 Dany Boon 飾）即使其中的兩員?！ ≡谂嘤柊嘀校蚱迌扇私Y識了很多志同道合的朋友們，他們決定舉辦一個家庭聚會，來慶祝他們新收獲的友誼。朱麗葉（瑪麗娜·漢斯 Marina Hands 飾）、莎拉（艾瑪紐爾·塞尼耶 Emmanuelle Seigner 飾）、阿蘭（帕特里克·布魯爾 Patrick Bruel 飾）和艾萬（帕特里克·薛內斯 Patrick Chesnais 飾）都收到了邀請，然而，當他們結束了狂歡準備離開時，卻發現大門被鎖住了。
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.