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火中金
张桐,侯天来,李易祥八路军教导员王金执行锄奸任务失败又遭叛徒诬陷，被组织审查。王金凭着对党的忠诚和坚强的意志率领这些身份复杂、性格迥异的人最终组成了一支神秘的队伍，出生入死、历经艰险，突破重重险境，重新汇入抗日洪流，最终完成了锄奸任务的故事。
舞台恐吓
明妮·德里弗,米特·洛夫,艾莉·麦克唐纳,道格拉斯·史密斯,肯特·诺兰炎炎夏日，一辆辆黄色的校车载着热爱歌唱和舞蹈的青年男女来到了一处郊外的夏令营。孩子们兴致勃勃，渴望在这里尽情释放对音乐的热爱。今年年轻导演阿特·盖茨雄心勃勃，决定将十年没有排演过的经典名作《歌剧魅影》搬上舞台。这一消息，令在厨房帮厨的卡梅拉（艾莉·麦克唐纳 Allie MacDonald 饰）和巴迪（道格拉斯·史密斯 Douglas Smith 饰）深受触动。原来十年前，姐弟俩那身为著名歌剧演员的妈妈在《歌剧魅影》的演出后被人杀害。该事件让他们封闭了自己，可是卡梅拉无法抑制心底对歌唱的渴望，终于她鼓起勇气报名参加了女主角索菲娅的遴选。然而伴随着她走向阳光，十年前那个恐怖恶魔似乎也从沉寂中醒来…… 本片根据真实事件改编。
留校联盟
保罗·吉亚玛提,多米尼克·塞萨,达明·乔伊·伦道夫,卡丽·普雷斯顿,布雷迪·赫普纳,伊恩·多利,吉姆·卡普兰,迈克尔·普罗沃斯特,安德鲁·加曼,纳希姆·加西亚,斯蒂芬·索恩,吉莲·韦格曼,泰特·多诺万,达比·莉莉·李-斯塔克,比尔·穆托斯,达斯汀·塔克,胡安妮塔·珀尔,亚历山大·库克,利兹·毕晓普,科尔·特里斯坦·墨菲,威尔·萨斯鲍尔预科学校巴顿学院的老师保罗（保罗·吉亚玛提 饰）不太受欢迎，不管是学生、老师还是校长，都不太喜欢他，他们觉得他浮夸又僵化。在1970年的圣诞假期，保罗留在了学校监督无法回家的学生。几天后，只有一个学生留了下来——一个名叫安格斯的15岁捣蛋鬼，他是一个被不良行为破坏的好学生，总是在被开除的边缘试探。与保罗和安格斯一起留下的还有学校厨师长玛丽，一个为特权阶层的儿子们提供服务的非裔美国妇女，她自己的儿子最近在越南失踪了。这三个截然不同的失意者组成了一个奇怪的圣诞家庭，在新英格兰大雪纷飞的两个星期里，分享着不幸经历，并意识到他们中没有人感谢自己的过去。
无路之路
卡罗尔·科皮克,帕维尔·卡什科维亚克,莫妮卡·诺沃格罗兹卡在一个支离破碎的世界里，生存是唯一的目标，一个孤独的流浪者在荒野中游荡，被复仇的念头所折磨。他遇到了一位陌生人，两人有着相似的过去。
狙击精英∶孤魂野鬼
查德·科林斯,汤姆·贝伦杰,瑞安·罗宾斯,乔什·布雷纳,Tuks Tad Lungu,多米尼克·马厄,Manuel Rodriguez-Saenz,米歇尔·伊萨·卢比欧精英狙击手布兰登·贝克特与他的小队在哥斯达黎加执行一项秘密任务时，遭遇阴谋陷害，任务失败演变为国际丑闻。为了掩盖真相，美国政府直接撇清关系，将这群最锋利的战士定性为“恐怖分子”。前一秒还为国效力的英雄，后一秒就成了被自己国家通缉的逃兵。没有合法的身份，没有空中支援，甚至没有合法的射击通道，布兰登陷入了前所未有的孤立无援。
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.