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在魔鬼门前
娜雅·里维拉,阿什莉·里卡兹,科林·伊格斯菲德一幢待售的房子，交到了年轻的女房产经纪莉手上，她在房里发现了一个精神有些异样的女孩，她以为那是前任房主离家出走的女儿，便想伸出援手，谁知女孩似乎被一种超自然的力量控制，莉和她的艺术家姐姐薇拉，都难逃她的魔掌…
邪恶护士2
苍井空,Ricky Harun,Zidni Adam寂静深夜，Selly（Violenzia Jeanette 饰）、Jack（Ricky Harun 饰）、Tando（Zidni Adam 饰）三名喜好刺激的青年男女驾驶机车飞驰在公路上，突然之间，Selly的机车失控，她摔倒在地，身受重伤，昏迷不醒，Jack、Tando连忙将其送往医院。与此同时，来自日本的女孩幸子（苍井空 饰）正准备和当地的导游外出游玩，谁知却不小心用车门夹上导游的手，语言本就不同的二人也慌慌张张前往医院。不久之后，两组人马在这间有些阴森的医院内会合，隐隐约约中，一个留着长发却看不清面容的女人不时逡巡在幸子等人的周围。 对于这几个有些倒霉的青年来说，恐怖而又爆笑的夜晚正慢慢拉开序幕……
假如比尔街可以作证
琪琪·莱恩,史蒂芬·詹姆士,雷吉娜·金,科尔曼·多明戈,泰柔娜·派丽丝,迈克尔·比奇,安洁纽·艾莉丝-泰勒,埃博妮·奥西迪安,多米妮克·索恩,迭戈·卢纳,芬·维特洛克,艾德·斯克林,艾米莉·里奥斯,佩德罗·帕斯卡,布莱恩·泰里·亨利,玛西娅·让·库尔茨,戴夫·弗兰科,马科·查卡,费斯·洛根,桃乐丝·麦卡锡《月光男孩》导演巴里·杰金斯日前敲定新片，他将把知名作家詹姆斯·鲍德温的小说《假若比尔街能够讲话》(If Beale Street Could Talk)搬上大银幕，故事设定于上世纪70年代的纽约哈林区，主角是一对刚订婚的年轻情侣芬尼(Fonny)和蒂什(Tish)。芬尼被诬告强奸，而身怀六甲的蒂什将四处奔走寻找证据证明丈夫的清白。梅根·埃里森创立的安纳普尔纳将投资本片，也将和《月光男孩》制片公司Plan B、杰金斯本人的Pastel工作室一同制作本片，10月开拍。
饿狼传说：满月杀手
蒂娜·露易丝,伊桑·恩布里,艾琳·库明斯,凯伦·琳恩·高妮,汤姆·诺南,兰斯·盖斯特,阿尔·萨皮恩扎,拉瑞·凡斯登,拉特安亚·阿尔达,尼克·丹米奇,Caitlin O'Heaney,Haythem Noor曾经驰骋战场的退伍老兵安布罗斯·麦金利（Nick Damici 饰）终究也抵挡不了衰老和死亡的侵袭，妻子早年去世，儿子威尔（伊桑·恩布里 Ethan Embry 饰）兀自忙着事业，父子关系虽不冷淡却也绝非亲近，双目失明的安布罗斯搭乘着儿子的汽车搬入名为克莱森特湾的老年社区，陪伴他的只有一条忠诚的狗狗。搬入当晚，住在隔壁的老妇人被一只饿狼模样的怪兽袭击身亡，而安布罗斯则经历了极其恐怖且终生难忘的夜晚。从医生口中得知，该社区每个月都会发生一次类似案件，但警方无一例外都将其归咎为普通的野兽所为。 得不到亲人的救助，更无法奢望父母的庇护，安布罗斯只能融入社区，寻找拯救自己的办法……
少林俗家弟子
范冬雨,何晴,丁岚,王赤,赵小锐程家少爷程亦鹏（范冬雨 饰）痴迷武术，程父试图用婚姻约束其行为，程亦鹏遂决定远上少林做俗家弟子，如此既可躲避习武力强的未婚妻小翠，又能学习少林功夫，在与心上人小晴（何晴 饰）话别后，亦鹏奔赴少林。然而师父恒德（赵小锐 饰）日日只是让一班俗家弟子做苦工，不肯教授少林功夫，师兄弟们虽不满却也无可奈何，加之小晴在少林附近落脚，程亦鹏和师兄弟们学着用各种方法苦中作乐。曾经被逐出少林的一游侠在遍访名师后，意欲挑战少林，以报当年未学到武功之恨，程亦鹏等俗家弟子被游侠多次殴打，恒德欲同游侠较量反被方丈关入藏经阁。程亦鹏经过苦工打熬，终有习武资格，在恒德指点下向游侠一雪前耻……
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.