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梦寐以求的女孩终于啪啪坚挺乳房性爱持久
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校园鬼谈
อาไท กลมกิ๊ก-สุภทัต โอภาส,สุชาติ แคปเจอร์-สุชาติ จันทร์แก้ว超级马力欧银河大电影
克里斯·帕拉特,安雅·泰勒-乔伊,查理·戴,杰克·布莱克,布丽·拉尔森,唐纳德·格洛弗,本·萨弗迪,科甘-迈克尔·凯,凯文·迈克尔·理查德森,路易斯·古兹曼,伊萨·雷,格伦·鲍威尔,萝珊娜·奥德嘉倚天屠龙记之魔教教主
李连杰,张敏,邱淑贞,黎姿,洪金宝,吴镇宇,吴耀汉,曹荣,闫怀礼,梁家仁,邹兆龙,田启文,张春仲,姬麒麟星河战队
卡斯帕·范·迪恩,迪娜·迈耶,丹妮丝·理查兹,杰克·布塞,尼尔·帕特里克·哈里斯,克兰西·布朗,塞斯·吉列姆,帕特里克·茂顿,迈克尔·艾恩塞德,露·麦克拉纳罕,马绍尔·贝尔,埃里克·布鲁斯科特尔,马特·莱文,布蕾克·林斯利,安东尼·瑞维瓦,布兰达·斯特朗,迪恩·诺里斯,克里斯托弗·柯里,莱诺尔·卡斯多夫,罗伯特·斯莫特,斯蒂芬·福特,罗伯特·大卫·豪尔,艾米·斯马特,蒂莫西·奥门德森,代尔·戴婚姻故事
斯嘉丽·约翰逊,亚当·德赖弗,劳拉·邓恩,艾奇·罗伯逊,梅里特·韦弗,阿伦·阿尔达,朱莉·哈格蒂,雷·利奥塔,马克·奥布莱恩,华莱士·肖恩,凯尔·博恩海默,米奇·萨姆纳,马修·马希尔,罗伯特·斯密戈尔,艾登·梅耶里,布鲁克·布卢姆,玛莎·凯莉,阿尔伯特·琼斯,汉娜·邓恩,桑德拉·罗斯科,麦金利·贝尔彻三世,戈登·格里克,马修·希尔,阿米尔·塔莱,萨拉·琼斯,文尼·希伯,胡安·阿方索,洛蕾塔·谢诺斯基,滕德·艾德比佩,贾思敏·西法斯·琼斯昆池岩
魏嘏隽,朴智贤,吴雅妍,文艺媛,朴成焄,柳济允,李承旭人气佳作
洛杉矶劫案
克里斯·海姆斯沃斯,马克·鲁法洛,巴里·基奥恩,哈莉·贝瑞,莫妮卡·巴巴罗,科里·霍金斯,尼克·诺特,詹妮弗·杰森·李,泰特·多诺万,保罗·安德斯坦,戴文·博斯蒂克,德鲁·鲍威尔,帕特里克·穆尔维,马修·德尔·内格罗,安德拉·内切塔,法希姆·法兹利,佩曼·莫阿迪,丹·佩罗,乔希·斯通,哈娜可·福特曼魔法奇缘2：解除魔法
艾米·亚当斯,帕特里克·德姆西,玛娅·鲁道夫,伊迪娜·门泽尔,詹姆斯·麦斯登,加布里埃拉·巴尔达奇诺,奥斯卡·努内斯,杰玛·梅斯,伊薇特·尼科尔·布朗,科尔顿·斯图尔特,詹姆斯·门罗·伊格尔哈特,安·哈拉达,Naoimh Morgan,肖恩·达根,布里吉德·莱希,埃马纽埃尔·奥克耶格吉（杀人鬼）
卡文·英玛诺泰,Supawadee Kitisopakul,ชัยยุทธ กิติชัยวัฒน์小镇突袭
雷·利奥塔,多米尼克·珀塞尔,迈克尔·帕尔导演精选
用武之地
影片取材自境外幸存人质真实自救经历。 驻外记者马笑（肖央 饰）和志愿医生潘文佳（齐溪 饰）夫妇，陪同工程师苗峰（郑恺 饰）赴郊区修理基站，当地局势突变。三人一路躲避恐怖组织的无差别袭击，最终还是被绑架沦为人质，并在狱中结识了华侨商人周伟杰（任达华 饰）。面对恐怖分子闻所未闻的屠杀暴行和以命换钱的勒索，他们历经105天，展开了一场惊心动魄的自救逃生。
柏蒂娜的苦泪
佩特拉（玛吉特·卡斯滕森 Margit Carstensen 饰）是一位小有名气的女画家，和丈夫结婚多年，两人养育了一个女儿。然而，随着时间的推移，佩特拉发现自己越来越看不起虚伪冷漠的丈夫，不自由的婚姻生活令她感到窒息，于是，她选择了离婚 经朋友西朵妮（Katrin Schaake 饰）的介绍，佩特拉结识了名为卡琳（汉娜·许古拉 Hanna Schygulla 饰）的美国女子，趣味相投的两人很快就彼此吸引，开始了她们的同居生活。佩特拉供养着卡琳，并且积极地将她引入时装模特的行列，然而，卡琳却将佩特拉的爱意视为束缚，最终她选择了离开。失去了卡琳，佩特拉的生活陷入一片混乱，渐渐走向崩溃的边缘。
等待方舟
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.