星河战队2:联邦英雄

　　巴里（埃兹拉·米勒 Ezra Miller 饰）用自己的超能力重返过去，想要改变历史、拯救自己的家人，然而他的所作所为，也在无意间改变了未来。在这个新的未来里，佐德将军（迈克尔·珊农 Michael Shannon 饰）回归，并威胁要毁灭世界。巴里孤立无援，除非他能劝动一位非常不同且已隐退的蝙蝠侠（迈克尔·基顿 Michael Keaton 饰）重出江湖，并拯救被囚禁的氪星人——尽管这位并不是他所熟悉的超人。最终，为了拯救他身处这个世界，并回到他熟知的未来，巴里惟一的希望就是为命运而极速狂奔。不过，即使巴里做出最终极的牺牲……他真的能让整个宇宙都重归正轨吗？

　　圣诞节将至，一间地处偏远的小木屋里，波特（拉菲·斯波 Rafe Spall 饰）和马特（乔恩·哈姆 Jon Hamm 饰）同坐一桌，用红酒和烤土豆庆祝这个银装素裹的节日。波特沉默寡言，无精打采，而马特却恰恰相反，为了逗波特讲话，他向波特讲述了自己的过去。
　　曾经的马特是一名“恋爱导师”，他通过摄像头和网络“远程操控”他的客户，让这些平日里无人问津的“宅男”们能够在派对山成功抱得美人归。然而，一场意外让马特决定永远离开这个他经营得风生水起的行当，此间究竟发生了什么？听了马特的叙述，波特终于决定向马特讲述自己的故事，这个故事关乎于他和他的女友，但并不完全关乎于爱情。

　　在神秘流浪汉的提示下，一名性格温顺的煎炸厨师发现了自己的超能力，并揭开了一个影响巨大的黑暗阴谋。

　　韓國和中東發生的一系列不斷升級的事件導致越來越大的衝突，使得強國彼此較勁。 軍力示威，炸彈下雨，士兵們在海上奮戰。 一個家庭陷入了不斷增長的衝突中。 他們能活下來嗎？

　　1914年第一次世界大战前夕，一名气象学家被派往南极孤岛上做气候观测。然而他很快发现，岛上除了他和一个疯疯癫癫的灯塔员，还有其它生物的存在... 影片改编自同名小说。

　　深太空探测船发现一个潜在的可居住的星球后，派遣了生化人和人类组成的远征队，去调查星球资源，而其实，这是一颗全是异形的星球……

　　在一场巨大而神秘的事故之后，一位年轻有才华的建筑师在一个与现实世界相似的奇异世界里苏醒，这个世界建立在这里人民的记忆之上，而这些人则处于深度昏迷之中。由于这些人的记忆力参差不齐、混乱、不稳定，导致奇怪的记忆和回忆——城市、冰川、河流可以共存在一个房间里，所有的物理定律都可以被打破，建筑师必须找到他们昏迷的具体规律，才能找到通往现实世界的出口。就在他与命运抗争的同时遇到了真爱，而经历此次昏迷之后，他发现自己不得不重新认识这个世界……

　　入围第71届柏林电影节全景单元。
　　In a dystopian future, children are considered property of the military regime which trains them to fight in a state boarding school. A Cree woman tries to get her daughter back. A parable about the situation of the First Nations, seen from a female perspective.

　　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.

　　大映が初めて手掛けた、1965年制作の本格怪獣映画『ガメラ』シリーズ第1作。監督は、湯浅憲明。北極海上で原爆を積んだ国籍不明機が米軍機によって撃墜され、氷山に墜落した。このため、積んでいた原爆は爆発、氷山に閉じ込められていたエスキモーの伝説の怪獣ガメラが蘇った。巨大な亀怪獣ガメラはその後姿を消し、入れ替わるかのように世界中で謎の空飛ぶ円盤が目撃される。人々の関心が空飛ぶ円盤に移り、ガメラのことが忘れられた頃、再びガメラが北海道にその姿を現した。自衛隊の作戦で仰向けにひっくり返されたガメラ。起き上がることの出来ないガメラに、人々は勝利を確信するが・・・。

　　此片是《Westworld》的续集，由彼得．方达、尤．伯连纳、布莱思．丹纳等主演。内容介绍阴谋者借机械人乐园再次开幕之际，以机械人取代来参观的巨商政要，企图藉此控制全世界，不料他们的野心被两名记者予以揭穿。该片在内容上没有上集那么新奇热闹，但在剧情上增加了悬念性，高潮性亦拍得相当紧张刺激。

　　毒贩和他的女同伙在他们的最后一次任务上反水了他们的老板，最后被困在时间循环中。