偷窥情人

黑暗杀机

　　杰弗里·怀特、亚历山大·斯卡斯加德和詹姆斯·戴尔共同加盟新片[持有黑暗](Hold The Dark,暂译)，由杰瑞米·索尔尼尔([绿色房间])执导。影片讲述阿拉斯加偏远地区出现野狼杀死孩子的事件，一位专家被派到这里调查，发现事件围绕着一对神秘的夫妻展开。该片将于3月在加拿大亚伯达开拍。

狄仁杰之通天浮屠

唐载初年，位于郊外校场倒塌的通天浮屠残骸一夜之间复活。天空中一条火龙照亮夜空，并喷射火球摧毁了整个校场，死伤无数。随后通天浮屠也燃起大火，化为灰烬。而异族鬼道在城外叫嚣，只有武则天效仿大佛自焚，天下才可免受灾难。城中内外人心惶惶，狄仁杰奉命彻查此案，却遇到了与自己有过节的大理寺少卿裴东升。二人不打不相识，被迫一起调查此案。面对外敌的入侵，队友的不信任，狄仁杰决心背水一战，势要查明案件的真相。

地面之下

 某座美军废弃的地下工业基地，数年前因一系列恐怖事件而关闭。而今，无所畏惧的时尚男女在这里开启狂欢派对，纵情享乐之际全然不知危险将近。马特（Ross Thomas 饰）、米拉（Sofia Pernas 饰）、艾瑞克（Jeff D'Agostino 饰）、詹娜（Christine Evangelista 饰）、伊芙和斯托姆（Adrian R'Mante 饰）等六名好友在派对高潮和另一伙人发生矛盾，冲突过后，他们仓皇躲入一座地下设施内，结果却被对方反锁在里面。少顷曲终人散，马特他们遇见另外两个在此欢爱的男女。他们结伴寻找逃出去的路，谁知竟遭遇了恐怖嗜血的可怕生物。黑暗寒冷的地下，魔鬼的盛宴拉开序幕……

机械怪兽

莎拉的笔记本

　　劳拉，来自马德里的西班牙律师，为寻找她失踪的妹妹萨拉，深入刚果丛林的钶钽铁矿产区，营救妹妹

等待方舟

　　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.