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康妮·布里登,乔瓦尼·索罗菲瓦,托马索·巴西利,巴贝蒂达·萨乔,亚历山德罗·布雷萨内罗,Syama Rayner,安德烈亚·布鲁斯基,Freya Hannan-Mills,Giorgia Trasselli,Lollo Franco幻嗅
Ronnie Lazaro,Janine Gutierrez,Paul Jake Paule,Hazel Orencio兄妹
大泉洋,宫崎葵,泷本美织,仲野太贺,西原亚希,七五三掛龍也,一路真辉,夏洛特·凯特·福克斯,笹野高史,波乃久里子独自赴死
凯瑞-安·莫斯,道格拉斯·史密斯,弗兰克·格里罗如来神掌2020
邹兆龙,巫迪文,唐菲,黄一飞阴阳师2
野村万斋,深田恭子,中井贵一,伊藤英明,市原隼人同类推荐
仿生人妻子
乔纳森·莱斯·梅耶斯,埃莱娜·康博里斯,多隆·贝尔,阿加·达什,Alix Villaret,Fletcher Donovan,莎拉·桑帕约,Rachelle Goulding,凯特琳·史崔克,C.J. Perry威廉丧妻后，从AI公司得到一位与亡妻样貌相同的仿生人，在人工智能开发的斗争中，一个神秘组织试图通过破坏仿生人的程序来让仿生人获得自由...
总统班底
达斯汀·霍夫曼,罗伯特·雷德福,杰克·沃登,马丁·鲍尔萨姆,哈尔·霍尔布鲁克,F·默里·亚伯拉罕,简·亚历山大,杰森·罗巴兹根据水门事件揭发人Carl Bernstein和Bob Woodward所写自传改编的电影。二人是《华盛顿邮报》的记者，在水门事件里，他们历尽艰辛揭开政治黑幕，人物和事件一同成为美国一段家喻户晓的历史。故事由五名盗贼开始，他们潜入水门大度行窃。本来是一桩不甚重大的刑事案件，却在Bernstein（达斯汀·霍夫曼Dustin Hoffman 饰）和Woodward（罗伯特·雷德福Robert Redford 饰）的追查下，最终撕开了一条大裂缝，矛头直指总统尼克松。从1972年到1974年，从尼克松竞选总统到尼克松连任上台，华盛顿邮报受到的压力越来越大，甚至被威胁。主编本·布莱德利站在了新闻自由和相信自己记者的这边，Bernstein和Woodward得以继续追寻事件真相，得到了重要线人“深喉”的帮助，经历了难以想象的曲折艰辛后，水门事件最终导致尼克松总统下台。
疯狂的兔子
柳田,赵梦洋,陈述,崔岳,黄迎,常蓝天未来某城市，艺校姑娘然然（柳田 饰）常带邻家小孩豆豆（赵梦洋 饰）玩耍，不料在一起偶然事件中豆豆丢失，她焦急万分。此时，城市上空降临UFO，宇航局安全处派出的特工莫名其妙失去了记忆。局长（王鹰 饰）让侦察员叶云（李艺 饰）观看监视录像，录像中似有一个类似豆豆的身影出现，但很快便消失了。与此同时，班上来了一个酷似豆豆的学生李大米，他随身携带一个神奇的游戏光盘，如果谁玩光盘大喊“神奇的兔子”，不可思议的事情发生了，兔子竟然跳到人的身上，兔形浸入人的衣服和皮肤，而人也变的疯狂暴唳。然然因拒绝玩此游戏，疯狂的兔子弄坏了她的乐器。原来，西伯尔星球科学家劫持了豆豆并改变了其大脑，改名换姓派回地球作恶......
疯狂丑小鸭2靠谱英雄
丑小鸭成功拯救鸟类王国后回到了鸭子农场，在那里他受到了英雄般的待遇，丑小鸭也开始沉迷于这种明星的光环。 另一边鸟类王国中一场不知名的瘟疫蔓延开来，不少鸟儿都染病不起，天鹅议员们派人前去寻求卡尔骑士的帮助，正巧卡尔骑士意外受伤，只能让丑小鸭去查明原因，可没想到在看到瘟疫惨状时，丑小鸭情绪崩溃害怕的逃走了，众人对丑小鸭失望透顶。 逃走的丑小鸭也陷入深深的自责中，他终于重新振作起来，决定和丑小八一起找出病因，却没想到被暗中潜伏的加瓦埋伏，夺走了他的力量，还将他困在了枯井之中，在井内，丑小鸭找到生机，见到了鸟类神秘的古代遗迹，也揭开加瓦的秘密。危机时刻，丑小鸭及时赶到激活琉璃鸟之光，再次拯救了鸟类王国。
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.