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跳动的心2
特里普蒂·迪姆里,维品·沙尔马,希坦特·查杜尔韦迪这部电影探讨了社会思想中根深蒂固的阶级和地位障碍，强调了一种永远无法实现的爱情叙事。还是可以？
神探瓦雷斯：绑票追缉令
里欧·舍曼,加斯帕·帕科农,米·库基不敢相信！浪荡不羁的瓦雷斯终于要结婚了，但是在婚礼上，瓦雷斯突然接到伴郎「解毒剂」的紧急来电，对方被帮派份子严刑拷打，需要他的救援。当他深入毒窟营救老友的同时，他新婚妻子的女儿被绑架了。瓦雷斯第一天当爸爸，就出大事了，为了营救继女，瓦雷斯被迫参与一场神秘诡谲的性爱邪教聚会，他分秒必争，必须抢在犯罪集团之前，拯救他所爱的人保护他的新家人。
乱马12：中国昆仑大决战！破坏计划之激斗篇！！
山口胜平,林原惠美,日高范子,盐泽兼人,玉川纱己子,大林隆介,绪方贤一,高山南,井上喜久子,铃置洋孝,井上和彦,鹤弘美,山田荣子,松井菜樱子,山寺宏一,佐久间玲,关俊彦,岛津冴子,吉村佣,子安武人,真殿光昭,石田彰,永井一郎,麻生美代子又是一个平静的日子，内裤爱好者八宝斋（永井一郎 饰）四面出击，惹得乱马（山口勝平 饰）、小茜、良牙（山寺宏一 饰）、珊璞（佐久間レイ 饰）等人纷纷加入进来，在镇上惹出巨大的骚动。正当众人闹得不可开交之时，一头裹挟着黑色杀气的大象突然袭来。它和美丽的主人向八宝斋发起攻击。与此同时，天空阴云密布，一艘巨船出现在空中。他们是来自中国内地寝昆仑的七福道神，这群神秘之人不仅抢走骑象少女带来的奥义经卷，还虏走了小茜。乱马一众不堪就范，决定启程前往中国……本片根据高桥留美子的漫画《乱马1/2》改编，系该动画的剧场版第一部。
漆黑如夜
Lukas Haas,凯文·杜兰故事发生在某个毗邻原始森林的小镇，一家伐木公司正在林中作业，这时白雪飘然落下，作业暂时停止，然而随即便发生了残酷血腥的事件。与此同时，警长保罗·希尔德（凯文·杜兰德 Kevin Durand 饰）和新来的搭档唐尼刚刚敷衍完几个报警事件，随后驱车来到前妻苏珊（Bianca Kajlich 饰）的家中，接走儿子亚当（Ethan Khusidman 饰）回自家居住。一夜无事，次日一早，保罗在门口发现硕大的脚印，而且脚印遍布小镇主干道，一直延伸到森林深处。巨大的脚印在小镇闹得人心惶惶，保罗起初绝不相信妖精怪物一类的传说，但是恐怖血腥的事件接二连三发生，让小镇陷入前所未有的恐慌之中。 危机渐次逼近……
当你约会的时候
克和茱莉娅因为摄影在网上相识，两人分享彼此的摄影作品，并且尝试在网上交往。在朋友的怂恿下，尼克主动约茱莉娅见面，试图开始真正交往，不料见面后才发现，网上的茱莉娅竟然是自己的前妻，因为事业观不合在几年前离婚了。简单交谈了几句后两人为对方安排了一场约会，但都因为性格原因导致约会无疾而终，实则是因为彼此对对方还都保留着好感。尼克邀请茱莉娅参加朋友家举办的晚会，朋友们都认为他们非常般配，他们也有意重新开始。在这关键时刻，茱莉娅的前男友出现，试图挽回茱莉娅，而尼克的前女友也又一次联系了尼克，他们碍于面子，将复合的事情搁浅在一旁。茱莉娅和尼克各自与前任相处了一段时间后发现还是忘不了对方，在情人节的晚上，他们终于放下心结，重新走到一起。
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.