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凯特·卡普肖,莉·汤普森,凯利·普雷斯顿,拉里·B·斯科特,华金·菲尼克斯,泰特·多诺万,汤姆·斯凯里特,巴里·普赖默斯下一个台风
张子枫,张伟丽,李心洁,姚晨,李晓川,蔡珩,曾慕梅,柴烨,蒋昀霖欣德·拉贾布之声
克拉拉·库里 , 萨贾·基拉尼 , 莫塔兹·马希斯 , 阿莫尔·何勒赫尔拼桌
王传君,江疏影,李雪琴,郑云龙,傅首尔,刘佳,王彩平,杜家毅,吴冕,白举纲,老四,田小洁,罗海琼,齐溪,许龄月,葵葵浪漫杀手真人版
上白石萌歌,高桥恭平,木村柾哉,中岛飒太,高桥光,伊藤俊介,上坂树里,森香澄,本多力,藤堂日向,津田健次郎,白滨亚岚,宫田俊哉,仓悠贵,醍醐虎汰朗,犬饲贵丈,西垣匠,优太朗,内藤秀一郎,丰田裕大,高杉真宙,矢本悠马,藤原丈一郎,佐藤大树,与那城奖,竹财辉之助同类精选
4度空间大师
罗伯特·兰辛,李·麦瑞威瑟,James Congdon假日旅馆
平·克劳斯贝,弗雷德·阿斯泰尔,玛乔丽·雷诺兹,弗吉尼亚·戴尔,沃尔特·艾贝尔,路易丝·比弗斯,欧文·培根绵羊侦探团
休·杰克曼,尼可拉斯·博朗,尼古拉斯·加利齐纳,莫莉·戈登,茱莉亚·路易斯-德瑞弗斯,克里斯·奥多德,布莱恩·克兰斯顿,帕特里克·斯图尔特,雷吉娜·赫尔,贝拉·拉姆齐,瑞斯·达比,布雷特·戈德斯坦,艾玛·汤普森,周洪,康勒斯·希尔,托辛·科尔,寇布勒·霍尔德布鲁克-史密斯,曼蒂普·迪伦,詹姆斯·赖特,乔治·哈里斯,斯特拉·斯托克尔,本·优素福,乔舒亚·希尔岩浆毒蛛
斯蒂夫·古根伯格,尼亚·佩雷斯,帕特里克·瑞纳,莱斯利·伊斯特布鲁克,丹尼·伍德伯恩,拉尔夫·加曼,乔恩·马克,阿诺德·陈,迈克尔·温斯洛,马里昂·拉姆塞,弗兰克·鲍沃斯,本杰明·马卡比,Zac Goodspeed花魁～SAGA
冲田杏梨,佐山爱,盐谷瞬我的的士爸爸
高山,邢露匀,易莉,杨曦,陈梓桐,李嘉欣影视排行
南方时光
陈玄力,吴慷仁,孙淑媚,黄迪扬,谢以乐,苏韦华,黄工芸,朱俐安,郑有杰小洲总是背着父亲薛大队长在学校调皮捣蛋，这次跟死党小马与胖雄又闯祸了，训导主任牛头于是一状告到薛大队长那里。父亲将小洲痛责，更在他书包里搜出小马的香烟，为此又将小洲严惩。小洲含冤受屈后愤而出走，心中更暗盼父亲可以从这个家消失；没想到当晚从对岸发射的两颗导弹竟令小洲如愿，薛大队长必须离家往前线去。父亲不在家，小洲与小马、胖雄的行动更肆无忌惮，却因此而惹上学校的小霸王大毛。小洲为对抗大毛，求助于国宅帮的少年头头A 司；A 司答应帮忙，却要三人付保护费。 三人夹在大毛与 A 司之间，饱受两方威胁。这时台湾面临战争边缘，股票大跌，总统直选在即，民间吹起移民潮。1996 年的南方时光，纷扰躁动，回想起来令人惘然。
怪物计划
伊芳·齐玛,贾斯汀·布恩宁,托比·海明威,Murielle Zuker,Jim Storm,Shayne Eastin,PeiPei Alena Yuan,Shiori Ideta一个想拍摄出恐怖纪录片的剧组在网路上发布了试镜公告，表明他们要找寻隐藏于现实生活中的骇人怪物，没想到有三个自称兽行者、吸血鬼与恶魔的报名者要前来试镜。他们相约于月全蚀之夜，在一栋森林中的偏远豪宅见面，原本只是要请对方分享自己的灵异经验，没想到竟弄假成真，变调成一场挥之不去的恐怖梦魇。
不死之人
安东·迪夫伦,哈泽尔·考特,克里斯托弗·李邦纳博士计划通过更年轻、更健康的人类受害者周期性的腺移植来永生。邦纳看起来大约40岁，他真的104岁了。但是人们开始怀疑了，他可能不会到200岁。
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.