家庭教師はGカップ 伊藤しずな写真
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驱魔
劳拉·琳妮,汤姆·威尔金森,詹妮弗·卡朋特,坎贝尔·斯科特律师艾琳（劳拉·琳妮 Laura Linney 饰）接到一桩官司。一名神父由于用宗教手段——驱魔仪式来治疗女孩艾米莉的重病，因而使得艾米莉耽误了正确的药物治疗时间。法庭上，一场宗教与科学之争展开了。 事件的开端，源于19岁女大学生艾米莉（珍妮弗·卡彭特Jennifer Carpenter饰）的恐怖遭遇。她在大学宿舍睡觉时，感觉有灵异恶魔来侵，接下来更为惊悚的事情陆续发生。艾米莉一反常态，她变得双眼发黑，行为怪异，整日活在犹豫恶魔缠身的梦魇中，艾米莉无法控制自己的意志，痛苦得生不如死。家人为她找来精神病医生，却毫无起色。无奈下，请来神父（汤姆·威尔金森 Tom Wilkinson 饰）一探究竟，才得知艾米莉被远古六恶魔上了身。万魔缠身的她，只有通过宗教仪式进行驱魔，才有可能逃出生天。 神父的驱魔并没有挽救艾米莉，还引来了控告。无神论者却认为，恶魔缠身是无稽之谈。
防弹武僧
周润发,西恩·威廉·斯科特,杰米·金,卡瑞尔·罗登,维多莉亚·斯莫费特,岩松信,袁之正,克里斯·柯林斯,肖恩·贝尔,罗布·阿切尔,袁罗素,保罗·福托,Suresh John,查得卡米列里,约翰·麦克唐纳,马特伯尔曼,Henry Korhonen,Lloyd Adams,Tommy Chang,Alan Tang,林益盛,Michael Cameron,麦克·多普德,Patrick Hagarty,Joyce Kirkconnell,迈克尔·塞尔切基一卷神秘的中国古代卷轴，由于蕴藏着巨大的力量，邪恶的坏蛋们个个都想得到它来统治世界；一个来自中国西藏的无名武僧（周润发 饰），为了保护着卷卷轴，一直过着颠沛流离的生活，他几乎躲遍了世界的每一个角落。直到有一天，武僧觉得累了，于是，他开始物色合适的人成为自己的弟子，将这个艰巨的任务继承下去。街头混混卡尔（西恩•威廉•斯科特 Seann William Scott 饰）偶然中帮武僧解了围，或许是心灵感应，武僧感应到这个混小子就是自己的传人了，于是决定将一身武功传给卡尔。卡尔开始了他对抗邪恶的艰难宿命。
末世厨房
凯恩·罗宾森,小霍普·伊克波库,亨利·劳福,鲁本·奈雅马,后路咭,克里斯塔尔,阿伦·阿萨德,拉萨克·库科伊,埃华特·詹姆斯·沃尔特斯,莱斯利-安妮·米勒,戴米·拉迪波,杰戴亚·班纳曼,菲奥娜·马尔,伊恩·赖特,阿拉贝拉·麦克穆雷,布莱德利·WJ·米勒,泰贾·卡布斯,雷娜·查基尔,泰亚尔尼·费伦-斯宾塞,奥利维娅-罗丝·科利亚德伊兹很快就可以逃脱伦敦仅存的住宅小区“厨房”。但小班吉走进他的生活后他需要做出一些艰难的决定。
盖尔：黄砖路
Chloë Crump,Hassan Taj,Laura Kay BaileyDorothy, now an elderly woman haunted by her past, tries to warn her granddaughter Emily before dark forces pull her into Oz, a once familiar land now twisted by horrors.
明日回游
李贝贝,郝正,田鈊,冯丹菊即将临盆的李晴（李贝贝饰）被带往一处郊区别墅静心待产，却在看似周密的照护背后，落入一场精心布局的惊天阴谋。身边所有人都试图让她相信一个被构造的“真相”，精神压力与诡谲氛围不断侵蚀她的判断力，使她难以区分现实与幻觉。随着恐慌升级，她随身携带的DV成为突破迷局的重要线索，故事走向也随之产生翻转。
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.