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冰尸玩過界
Seth David Mitchell,Brit Morgan,Noah Segan不久前剛剛得知自己懷孕的艾瑪（布麗特·摩根 Brit Morgan 飾），懷著異樣復雜的心情隨同尚不知情的男友麥克（希斯·戴維·米切爾 Seth David Mitchell 飾）來到一處位于雪山冰原之間的小鎮度假。無垠曠野，萬籟俱寂，看似一切都是那么浪漫美好，但是他們駕駛雪地摩托時遭遇事故，二人相互攙扶，勉強回到帳篷。在完全沒有信號的深山腹地，麥克他們不僅要對抗嚴苛冰冷的自然環境，還要承受莫大的精神壓力盡快修好雪橇摩托逃離此地。 在此過程中，二人間爆發著爭吵，而更大的危機正漸漸向他們逼近。直到某天，艾瑪意外變成了這座山林中的孤身一人……
玩具總動員5
湯姆·漢克斯,蒂姆·艾倫,瓊·庫薩克,格蕾塔·李,基努·里維斯,謝爾比·拉巴拉,克雷格·羅賓森,柯南·奧布萊恩,安妮·波茨,邦妮·亨特,華萊士·肖恩,埃涅·赫德森,約翰·拉森貝格,克里斯汀·沙爾,托尼·海爾,布萊克·克拉克,艾倫·卡明,斯佳麗·斯皮爾斯,邁可拉-米歇爾·哈里斯,羅里·艾倫,杰伊·埃爾南德斯,克莉絲·馬歇爾本部續作中，胡迪、巴斯光年、翠斯等“元老級”玩具將跟隨小主人邦妮的成長腳步，共同迎接數字時代下的全新挑戰。隨著無所不能的科技產品逐漸走進童年世界，一批充滿科技感的嶄新角色也隨之重磅亮相：青蛙造型的智能平板小荷、憨態可掬的導航玩具小不丟、活力十足的抓拍好手小拍俠，以及自帶笑點的臭屁小機靈。當身邊的同齡朋友們開始沉浸在科技玩具帶來的“電子陪伴”中，而玩具伙伴們也迎來了前所未有的生存難題：在屏幕占據注意力的時代，玩具的時代真的結束了嗎？在“被取代”危機的當下，這群玩具伙伴還能否攜手，幫助邦妮找回屬于自己的真實友誼與快樂？
筆仙大戰貞子2
奚美麗,云翔,朱婭,王宇凝,林奕婧《筆仙大戰貞子2》講述了美術學院學生夏柚（奚美麗飾），在與“姐妹團”佩潔（朱婭飾）、小依（王宇凝飾）、雯雯（林奕婧飾）聚會時候玩起了通靈游戲，陰差陽錯之下招致了貞子的出現，伴隨而來的還有噩夢和殺戮。被逼無奈之下，姐妹團決定召喚筆仙，一場中日鬼王之間的惡戰再次掀起。
靈魂擺渡之風華絕代
于毅,岳麗娜,何花,楊昆,倪虹潔,劉智揚近日，由北京完美建信影視出品，倪虹潔特別出演的新劇《靈魂擺渡3》曝光了劇場版《風華絕代》的兩版預告。倪虹潔在劇中大膽挑戰了帶刺野玫瑰風格的角色。不僅身穿白裙微露大腿，還言語挑逗師傅，似是上演了一出禁忌戀情。而在另一版預告中，倪虹潔梳起“大背頭”，以男裝造型登場，眼尾輕挑、眼神迷離的野性風格“色誘”熒幕前的老司機。反差如此過大，網友強烈期倪虹潔上演的“雙面魅力”。有著口碑和點擊量雙好評的《靈魂擺渡》，時隔一年終于以完結篇的形式回歸熒屏。演員倪虹潔加盟《靈魂擺渡3》最受期待的劇場版《靈魂擺渡之風華絕代》，扮演了一位充滿神秘色彩，而又雌雄莫變的“野玫瑰”。
誤殺2019
肖央,譚卓,陳沖,姜皓文,秦沛,邊天揚,許文姍,張熙然,施名帥,黃健瑋,陳志朋,葉瀏,谷洋,張林李維杰（肖央 飾）與妻子阿玉（譚卓 飾）來泰打拼17年，膝下育有兩個女兒，年屆四十的他靠開設網絡公司為生，為人也頗得小鎮居民的好感，而這一切美好卻被突如其來的不速之客打破。這個充斥走私，販毒活動的邊陲小鎮，各種權力交織碾壓公平正義。李維杰的大女兒平平（許文珊 飾）被督察長拉韞（陳沖 飾）的兒子素察（邊天揚 飾）迷奸，因反抗誤殺對方。李維杰曾親眼目睹督察長濫用私刑，深知法律無用，為了維護女兒，捍衛家人，李維杰埋尸掩蓋一切證據，在時間與空間的交錯縫隙中，與警方在身心層面，展開了殊死一搏的較量。
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾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.