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瘋狂丑小鴨2靠譜英雄
丑小鴨成功拯救鳥類王國后回到了鴨子農(nóng)場，在那里他受到了英雄般的待遇，丑小鴨也開始沉迷于這種明星的光環(huán)。 另一邊鳥類王國中一場不知名的瘟疫蔓延開來，不少鳥兒都染病不起，天鵝議員們派人前去尋求卡爾騎士的幫助，正巧卡爾騎士意外受傷，只能讓丑小鴨去查明原因，可沒想到在看到瘟疫慘狀時(shí)，丑小鴨情緒崩潰害怕的逃走了，眾人對(duì)丑小鴨失望透頂。 逃走的丑小鴨也陷入深深的自責(zé)中，他終于重新振作起來，決定和丑小八一起找出病因，卻沒想到被暗中潛伏的加瓦埋伏，奪走了他的力量，還將他困在了枯井之中，在井內(nèi)，丑小鴨找到生機(jī)，見到了鳥類神秘的古代遺跡，也揭開加瓦的秘密。危機(jī)時(shí)刻，丑小鴨及時(shí)趕到激活琉璃鳥之光，再次拯救了鳥類王國。
鐵血戰(zhàn)士：殺戮之地
艾麗·范寧,迪米特里烏斯·舒斯特-科洛阿瑪坦吉跟隨一位被部落放逐的年輕鐵血戰(zhàn)士，深入一片連宇宙頂級(jí)獵手都聞風(fēng)喪膽的險(xiǎn)惡之地。在那里，他將與維蘭德-湯谷公司制造的仿生人希雅（Thia）意外結(jié)盟，這位僅存上半身的仿生人，將與他共同踏上尋找終極對(duì)手的冒險(xiǎn)征途。當(dāng)“菜鳥”鐵血初次狩獵便陷入最嚴(yán)酷的試煉，一步行差踏錯(cuò)即刻墜入無可挽回的深淵，唯有浴血廝殺，才能在絕境中爭得一線生機(jī)。而這場終極較量也將顛覆鐵血戰(zhàn)士的狩獵法則——生存并非勝利的終點(diǎn)，而是通往更殘酷考驗(yàn)的開始。
恐怖列車
索拉·伯奇,吉迪恩·埃默里,卡凡·瑞斯,Derek Magyar,格羅瑞亞·沃特西斯,Todd Jensen,Vladimir Vladimirov五名美國業(yè)余摔跤選手艾歷克斯（Thora Birch 飾）、托德、克萊爾、威利、謝爾頓，在教練帶領(lǐng)下遠(yuǎn)赴東歐參加摔跤比賽，雖然他們輸?shù)袅吮荣悾?dāng)晚仍興致勃勃參加了派對(duì)，以致耽誤了第二天開往敖德薩的火車，由于語言不通，他們一時(shí)買不到車票，一位說英語的金發(fā)女郎出現(xiàn)，帶領(lǐng)他們登上了車站內(nèi)的一列紅色火車。 甫一上車，隊(duì)員們的護(hù)照便被形容猥瑣的男乘務(wù)員收去，這列經(jīng)過改裝的列車上賭場、餐車、休息室一應(yīng)俱全，隊(duì)員們很快遠(yuǎn)離其他語言不通的乘客，躲在休息室玩起了真心話大冒險(xiǎn)，然而在游戲進(jìn)行的過程中，托德消失在列車尾部，其他隊(duì)員也一一失蹤，艾歷克斯很快發(fā)現(xiàn)，她要獨(dú)自面對(duì)車上的幾個(gè)活體器官摘除者……
寒刀凜
劉峰超,張浩,尹鍵,肖琳揚(yáng)明朝年間，錦衣衛(wèi)陸欽因罪被發(fā)配充軍，途中因緣際會(huì)，與樊英押送貪官張嵩回京指認(rèn)通敵太監(jiān)王公公。經(jīng)過生死追逃，最終陸欽犧牲，張嵩抵京，卻被王公公處死于監(jiān)牢。多年后，王公公被樊英擊殺，善惡終得報(bào)。
二十
金宇彬,李俊昊,姜河那,鄭素敏,李侑菲,閔孝琳,鄭珠妍該片講述的是三個(gè)二十歲的小伙兒青春年少的故事，金宇彬飾演的是一個(gè)不善處理異性關(guān)系、沖動(dòng)熱血、游手好閑的家伙。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達(dá),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(yáng)·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.