交换情侣

遇见恶魔

塞缪尔·杰克逊,莱丝莉·比伯,卢克·威尔逊,佩顿·利斯特,翠茜·索姆斯,李·瑞恩

　　曾经的约翰（卢克·威尔逊 Luke Wilson 饰）是一名风光无限的商人，偌大的豪宅，漂亮的妻子，可爱的女儿，当金融危机爆发之时，约翰所拥有的这令人羡慕的一切都在转瞬间成为了巨大的负担，他和妻子之间原本美满的感情也产生了裂痕。　　经历了糟糕的一天后，约翰拖着疲惫的身躯回到家，这时，一个名叫里奇（塞缪尔·杰克逊 Samuel L. Jackson 饰）的陌生人拦住了约翰，希望得到他的帮助。让约翰没有想到的是，里奇竟然是一名杀手，可是，里奇却并没有杀死约翰，正相反，在莫名其妙之中，约翰和里奇一同踏上了一段充满了鲜血和杀戮的恐怖旅程。随着时间的推移，约翰渐渐开始怀疑，他和里奇之间的相遇究竟是偶然还是必然。

我是桐岛

每熊克哉,北香那,奥野瑛太,高桥惠子,原田喧太,影山祐子,山中聪,郑龙进,岭豪一,和田庵,伊藤佳範,宇乃徹,长村航希,海空,安藤瞳,咲耶,赵珉和,松本勝,秋庭賢二,佐藤寿保,ダーティ工藤,白川和子,下元史朗,甲本雅裕

物語は1970年代、桐島の大学時代から始まる。反日武装戦線の活動に共鳴して行動をともにしていた彼は、1974年の三菱重工爆破事件で多数の犠牲者を出したことにより、深い葛藤にさいなまれる。警察当局の捜査が進んで組織が壊滅状態になる中、指名手配された桐島は偽名を使って逃亡。やがて工務店での住み込みの職と静かな生活を手にした桐島は、ライブハウスで歌手キーナと知り合う。

蒙上你的眼：逃出巴塞罗那

乔治娜·坎贝尔,马里奥·卡萨斯,迭戈·卡尔瓦,米歇尔·珍娜,莱昂纳多·斯巴拉格利亚,洛拉·杜埃尼亚斯,帕特里克·克里亚多,Alejandra Howard,西莉亚·费杰罗,Naila Schuberth,冈扎洛·德·卡斯特,Manel Llunell,米洛·塔波阿达,Brian Lehane,Gerard Oms

　　《蒙上你的眼：逃出巴塞罗那》由《蒙上你的眼》的制作人倾情打造，是 2018 年备受观众青睐的热门电影的衍生作品。在一股神秘力量使世界人口大量减少之后，塞巴斯蒂安必须在巴塞罗那荒凉的街道上展开自己的求生之旅。当他与其他幸存者结成不稳定的联盟，并试图逃离这座城市时，一个意想不到、甚至更加险恶的威胁正在增长。

无归客

宋洋,陈立农,姜珮瑶

　　宋隐（宋洋 饰）奉命调查“极乐膏”制贩案件。办案期间，他获得了游侠夜刹、大夫燕云升（陈立农 饰）、药师素娥（姜佩瑶 饰）等人的帮助。他们通过顽强战斗与勇敢牺牲，撕碎了犯罪头目白启年的保护伞，还一方安定。宋隐继续踏上铲奸除恶的漫漫长路。

不死之人

安东·迪夫伦,哈泽尔·考特,克里斯托弗·李

　　邦纳博士计划通过更年轻、更健康的人类受害者周期性的腺移植来永生。邦纳看起来大约40岁，他真的104岁了。但是人们开始怀疑了，他可能不会到200岁。

男孩2026

赵炳奎,柳仁秀,崔允珍,徐仁国

讲述了住在虚构城市波古市的罗汉、他的哥哥乔汉和刚搬进得克萨斯州一家水疗中心的故事，该水疗中心的老板是一位不可预知的邻居。

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.