救贖者

简介：有着450多年曆史的狼兵部隊後裔文山壯族兒女組成的新一代狼兵敢死隊驍勇殺敵，狼兵之花陸小妹（徐冬梅 飾）奉命執行挽救民族危亡的絕密行動，充滿血性、身手不凡的狼兵大英雄“飛狼”火線救援，與兇殘強大、溫柔背後暗藏變態殺機、手段極其陰狠的對手日軍特別行動隊隊長川村犬男殊死搏殺，鷹峯嶺土匪混 水摸魚。危急關頭，總有一個神祕人物出現。各方勢力橫插一槓的烽火線上，重現拼死殺敵，誓死衛國的百年狼兵雄風……

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简介：崔亨旭（劉海鎮 飾）是一名經驗豐富的殺手，凡是交給他的任務，他總是能夠完美的將它們完成。某日，在幹了一票大買賣之後，崔亨旭來到大衆浴室洗澡，哪知道竟然因爲踩到了肥皂摔倒，陷入了昏迷之中。此時，一直在邊上暗中觀察他的無名演員尹在成（李準 飾）偷走了崔亨旭的手牌，將他櫃子裏的財務據爲己有。　　在醫院醒來的崔亨旭失去了記憶，憑藉着被交換過的手牌，他以爲自己是尹在成，兩人就這樣在陰差陽錯之下交換了身份。爲了生存，崔亨旭開始打零工，因爲在片場展現出了出色的身體素質和格鬥技巧，而受到了導演的賞識。那邊廂，尹在成發現了崔亨旭的殺手身份，並且對他的下一個目標宋恩珠（林智妍 飾）產生了感情。

简介：金無法相信他心愛的孩子芭芭拉公主已經長大成人。他仍然試圖照看公主，但是16歲的芭芭拉在她的生日聚會上發脾氣。當所有人都心煩意亂的時候，王位卻被一個狡猾的郵差黃鼠狼搶走了。然而，由於不滿足於成爲王國的唯一統治者，他還打算嫁給芭芭拉。芭芭拉公主跑出宮殿，發現自己在森林深處。她碰到了歹徒布吉和他的朋友邪惡的兔子。芭芭拉的干涉嚴重破壞了這兩個朋友普通的單身生活。芭芭拉幹預每件事，安排自己的一套規則，並不斷讓他們對她關於愛德華王子的假設感到不安。她想象愛德華王子如何擊敗冒名頂替者，恢復國王的職位，並向芭芭拉求婚。就像書上說的。爲了除掉芭芭拉，布吉決定去尋找愛德華王子，阻止黃鼠狼，恢復王國秩序。

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简介：故事发生在未来，一名无人机飞行员哈普（戴姆森·伊德瑞斯饰）被派往危险的军事区域，他在那里发现自己服务的是一名研究机器人的长官里欧（安东尼·麦凯饰），这名长官的任务是在叛乱分子之前研发出打败对方的装置。

简介：龍王攜四海龍王以水淹陳塘關逼李靖交出哪吒，哪吒自刎肉身消亡，太乙欲建廟助他重生。 燃燈道人贈李靖玲瓏寶塔，說哪吒無功受香火會受魔心反噬。李靖不忍讓哪吒入歧途決定毀廟引哪吒誤會，而李母與太乙偷偷供奉哪吒牌位。龍王在哪吒復生之時突襲，衆人都被壓在塔下。誤會頗深的父子腹背受敵，一邊要與對方打鬥，一邊又要提防龍族和塔內怪獸的襲擊，於是決定先放下芥蒂逃出兇險之地。 二人進入寶塔深處，幻境紛至沓來，敵人潛伏其中，隨時襲擊疲於奔命的父子倆。 兩人同行，最終冰釋前嫌，共同擊敗龍王。

简介：16歲的少女薩拉·貝利（Robin Tunney 飾）外表陽光美麗，卻擁有不爲人知的痛苦過去。爲了尋找生活的希望，她隨父親（Cliff De Young 飾）和繼母從舊金山搬到了位於洛杉磯的一座城市，並在當地一所教會學校繼續學業。在這裏她遇見三個打扮和舉止都很怪異的女孩——（費爾魯扎·鮑克 Fairuza Balk 飾）、邦妮（Neve Campbell 飾）和羅謝麗（Rachel True 飾）。周圍的學生沒有一個願意與她們交往，甚至盛傳他們就是恐怖的女巫。薩拉無意間展現出的超能力引起南希等人的注意，這四個本質上有着相同氣質的女孩很快便走到一起。　　他們希望召喚萬物之靈馬農（Manon），讓其進入自己的身體，由此可以使糟糕的生活變得好轉起來。只是，世界上絕對沒有免費的午餐……

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简介：顧海表面上經營着一家高端車行，私下幹着走私車、販賣問題零部件、控制地下賽車的不法勾當，他的手下林霄偷偷吞了兩百萬，想和妹妹林遙離開這座城市開始新生活。但林霄被顧海發現，林霄不願說出錢的下落，顧海便打算抓林遙來威脅林霄。與此同時，酷愛賽車的林遙正準備進行一場地下賽車......

简介：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.

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