以你的肉体呼唤我
《以你的肉体呼唤我》线上看,由导演,度模世等演员领衔主演,影片主要讲述了絮英為了栽培女兒寶經進大學，煞費苦心耗盡自己的青春，等女兒終於順利入學，空閒下來的絮英卻開始覺得孤單。某日，寶經帶著她的男友咏吾回家，不料咏吾和絮英卻擦出禁忌的情慾火花，重新感受激烈愛情的絮英，像是再次成為一個含苞待放的女孩……,以你的肉体呼唤我"
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铁拳硬汉
徐少强,郜乔,邱彬山东豪杰许良东，在上海滩从码头苦力逆袭为商界巨擘，横扫仇敌关无极。正当他联手大世界乔爷掌控商界时，英国势力携鸦片卷土重来。昔日兄弟马远竟被毒品控制，倒戈相向！乔爷惨死，许良东遭全城通缉…面对家国大义与兄弟情仇，他如何守住国门，书写漕运传奇？
父子神探之滴血的戒指
马跃,李子雄裕华银行的襄理李修为开车在巡捕房门口肇事，引起骚乱，被天生带到巡捕房查问。修为和韩玲费尽周折，找到的竟是曾茹残缺的尸体, 随着调查进展，亨利提出了一个大胆的设想，绑架并且杀害曾茹的，就是李修为本人。
父子神探之双子座
马跃,李子雄在法租界内，博爱福利院的前院长丁从文在公寓中被残忍杀害，但现场的线索让人疑惑：凶手并未急于逃离。这样残酷的行径究竟是谁所为？更加奇异的是，现场的烟蒂和灰烬似乎隐藏着某种不可告人的秘密。陈亨利探长带着儿子天生迟迟未能有所突破。与此同时，上海大亨林权的儿子在苏州遭绑架，林权迫使陈亨利进入林家公馆，负责林家公子林韫的解救。 通过博爱福利院的调查资料，陈探长发现绑匪掳走的并非无关人士，而是二十年前由林权和家中丫环翠玉所生的私生子小五。翠玉去世后，小五成了孤儿，被丁从文收养。绑匪要求天生前去苏州解救人质，但任务却以失败告终。回到上海后，一连串离奇事件接踵而至。
养鬼吃人10：审判
希瑟·兰根坎普 , 兰迪·韦恩 , 约翰·古拉格 , 凯特·琼斯 , Rheagan Wallace , 亚历山德拉·哈里斯 , Paul T. Taylor , Mike J. Regan , Molly Nikki Anderson , Damon Carney , Helena Grace Donald , Mary Kathryn Bryant , Jay Dee , Grace Montie , Trey Walpole影片讲述3名警探在调查一起谋杀案时，却已悄悄落入钉子人的陷阱... 新任“钉子头”由《罪恶之城》男星保罗·T·泰勒饰演，影片将于2017年在美国上映。 据外媒报道，《猛鬼追魂》第10部影片《猛鬼追魂：审判》（Hellraiser:Judgment）首度曝光了造型照，令人闻风丧胆的“钉子头”现身，由《罪恶之城》男星保罗·T·泰勒饰演。 道 格·布拉德利 《猛鬼追魂》是最著名的系列恐怖电影之一，除惊人的血腥场景外，更借助肉体的痛苦达到灵魂的救赎，追求一种由魔入道的境界。…
他人即地狱(日影)
八村伦太郎,柳俊太郎,冈田结实,三浦健人,青木さやか,大仓空人,萩原圣人,鈴木武,星耕介,滨津隆之,日比美思,松角洋平,大野泰广「他人は地獄だ」は、地方から上京してきたユウが、不気味な入居者が暮らすシェアハウス「方舟」への入居をきっかけに、不可解な出来事が発生するサスペンスホラーだ。ヨンキ氏が描いたスリラー漫画の舞台を日本に置き換え、八村はユウ、柳は「方舟」のリーダー的存在のキリシマ、そしてユウの恋人・メグミを岡田が演じる。
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.