超能透明人

简介：獵人克萊文，英文名爲Kraven the Hunter，是2024年上映的美國冒險電影。 少年謝爾蓋·克拉維諾夫（亞倫·泰勒-約翰遜 飾）的父親（羅素·克勞 飾）崇尚“強者爲王”，對後代施行野蠻殘酷的狼性教育，而在一次狩獵之中，經歷野生雄獅襲擊的謝爾蓋被父親拋棄。他在瀕死之際意外因爲獅子血液而產生變異，成爲擁有超常力量的獵人克萊文，從此踏上向父親的復仇之路，而犀牛人的出現，似乎也預示了更大的陰謀。  

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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：幸運是她的名字。儘管面對破裂婚姻，獨力帶着八歲女兒，她仍深信幸運在自己手裡，夢想有天能高飛，盼望彩票中頭獎，開一家屬於自己的幸運髮廊。這位「羅馬媽媽」有個心結，父親早死，她一直沒走出陰影。失意時遇上愛情，與愛女關係卻日趨惡化。羅馬水道橋前，大媽廣場舞是時代標記，中國移民放貴利。演而優則導的卡斯迪里圖，在執導《戀火浮生》後，再度與編劇妻子合作，回到家鄉羅馬取景，請來漢娜舒古拉重量級客串，女主角潔絲敏婷卡更於康城影展「某種觀點」單元獲封影后。

简介：夜间班机因旅客大都熬夜熬得双眼通红，故得名为红眼班机。勒克斯大西洋酒店的高级行政人员丽莎（瑞秋•麦克亚当斯 Rachel McAdams 饰）今天不得不搭乘她最不喜欢的红眼班机，因为她必须在参加完祖母的丧礼后明天就赶回酒店工作。　　丽莎的运气还不错，在机场遇到了英俊潇洒的杰克逊（希里安•墨菲 Cillian Murphy 饰），两日相谈甚欢。更让丽莎惊喜的是，两人搭乘的是同一班红眼班机，而且还相邻而坐。本以为一段美好的缘分就此展开时，丽莎万万没有想到，原本温文尔雅的杰克逊露出了他的狰狞面目。原来杰克逊是恐怖分子的一员，他正要前往刺杀住在勒克斯大西洋酒店的安全部的高官。现在，恐怖分子绑架了丽莎的父亲，要求身为该酒店主管的丽莎协助杰克逊完成这一刺杀任务。在恐怖分子的要挟下，丽莎将何去何从？

简介：影片根据顾文显本人发表于《今古传奇·故事版》的故事《傻人有傻福》改编。该剧通过制造悬念抖包袱的手段，让观众在笑过之后，能崇尚“以热心助人为荣”的处世观，领悟“善有善报”的朴素哲理。

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正义联盟集结地球上所有超级英雄一起对抗强大的反派达克赛德。

简介：半纪录片半传奇小说的电视电影。

简介：在医院工作的山际辰雄（染谷将太 饰）和悦子（夏帆 饰）是一对恩爱的小夫妻。近一段时间，辰雄时常望着窗外发愣，令妻子分外不安。与此同时，悦子所在的工厂同事浅川美雪（岸井雪乃 饰）出现异样，她声称总在家中看到男性幽灵，但那却是她在世的亲生父亲。悦子将美雪送到丈夫的医院检查，结果发现美雪完全丧失了“家人”的概念。在医院时，悦子还遇到了辰雄的好友真壁医生（东出昌大 饰），而对方给她留下了十分不好的感受。渐渐她发现，辰雄与真壁之间似乎有着某种联系，两人更秘密在进行着什么。 周围的世界变得越来越古怪，悦子最终发现了一个攸关人类的可怕阴谋。©豆瓣

简介：香港，警探谭家明（谭耀文 饰）因多年前与挚友同伴唐警探（唐文龙 饰演）兄弟反目，其妻子阿雪（杨恭如 饰）又病重，他失意潦倒之际，一日遇上城中雷厉风行的辣警霸王花Madam梁（梁琤 饰）和她手下的女子兵团，是敌是友，火拼再起......

简介：一個獨特的，親密的和誠實的描繪一個女孩悲傷的失去她最好的朋友。這恰好發生在我們所知道的世界末日的那一天。　　由黑暗中幾個人莫名其妙的對話開始，講述了女主人公在自己的朋友死去後，無意中發現了朋友生前錄製好的錄音帶，追尋着提示，一步步拯救了世界的故事。但是，真正的災難卻纔剛剛開始……

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.