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金錢第一
凱瑟琳·海格爾,丹尼爾·遜亞塔,杰森·奧瑪拉,派特里克·費斯克勒,黛比·雷諾斯對于女孩斯蒂芬妮（凱瑟琳·海格爾 Katherine Heigl 飾）來說，最近的日子可不好過。失業的生活讓她囊中羞澀，與此同時，她唯一一輛之前的敞篷跑車也被討債公司在不久之前收走抵債了。面對嚴峻的現實，斯蒂芬妮不得不走上街頭找起了工作。 在表兄維尼（派特里克·費斯克勒 Patrick Fischler 飾）的介紹下，斯蒂芬妮成為了一名保釋官，保釋官這個職業可不好做，為了能夠勝任，斯蒂芬妮接受了嚴格艱苦的訓練。不久，斯蒂芬妮的第一個任務出爐了，她的客戶是一個叫做喬（杰森·奧瑪拉 Jason O'Mara 飾）的警察，后者被卷入了一起謀殺案中。要命的是，這個喬不是別人，正是斯蒂芬妮的前男友。舊愛近在眼前，除了要應付層出不窮的狀況外，如何處理他們之間的感情成為了斯蒂芬妮最首先要解決的問題。
狂暴3：擊倒總統
馬特·弗里沃,布倫丹·弗萊徹,瑞安·麥克唐納,Scott Patey,克瑞斯塔爾·洛維比爾威廉森回來了，這次要到華府出任務。他打算從美國白宮內部引爆讓政治人物瓦解，結果之大將影響全世界。他這次的新任務，是要讓美國總統垮臺，并揭發電影下載秘辛。再創前兩部電影的終極暴力美學。
哆啦A夢：新·大雄的海底鬼巖城
水田山葵,大原惠美,嘉數由美,木村昴,關智一,千葉翔也,廣橋涼,平愛梨,平子祐希,酒井健太『哆啦A夢』2026年新作電影『哆啦A夢 新·大雄的海底鬼巖城』正式公布描繪哆啦A夢與大雄一行人在海底世界展開的全新大冒險1983年的《大雄的海底鬼巖城》時隔40多年后煥然新生監督由首次執導《電影哆啦A夢》系列的矢嶋哲生擔任
勾魂谷
杰米·貝爾,Kris Marshall,Matthew Rhys,Andy Serkis,Hans Matheson故事發生在第一次世界大戰期間，英國聯軍和德軍之間的戰況日漸白熱化，每天都有無數的士兵們含恨死去，年僅十六歲的莎士比亞（杰米·貝爾 Jamie Bell 飾）亦參與了這場戰爭，戰場上傷痕累累的慘狀給他的心靈蒙上了厚厚的陰影。 某日，莎士比亞和一干戰友們正在進行一項突襲任務，就在大家凝神鼻息偷偷前進之時，一股不知從何而來的神秘煙霧將他們包圍。之后，一行人來到了德軍的戰壕內，然而這里了無生氣，有的只是一具具死相及其恐怖的尸體。這里究竟發生了什么？莎士比亞所在的連隊繼續前進，詭異的事情不斷發生，連隊中亦不斷的有人喪命，莎士比亞隱約覺得，在前方等待著他們的正是地獄的入口。
動物園看守
凱文·詹姆斯,羅莎里奧·道森,萊絲莉·比伯,鄭肯,唐尼·沃爾伯格,喬·羅根,奈特·法松,斯特凡娜·德拉·克魯茲,尼克·伯凱,杰姬·桑德勒,尼古拉斯·特圖羅,托馬斯·戈特沙爾克,布蘭登基納,Robin Bakay,加里·瓦倫廷影片中出現的大象泰，還出現在了《大象的眼淚》一片中。 影片中出現的長頸鹿Tweet曾經出現在金·凱瑞的代表作《神探飛機頭》之中。 富蘭克林公園動物園是波士頓當地的一家著名的動物園，1913年開業，占地72英畝。 在富蘭克林公園動物園，一群動物們都很愛他們好心的飼養員Griffin Keyes（凱文·詹姆斯 Kevin James），但他們發現他和獅子在一起比跟姑娘在一起相處融洽。Griffin覺得他找到人生另一半的唯一機會就是另找一個體面的工作，此時動物們都很傷心，他們決定向Griffin展示他們的秘密：他們能說人話！為了Griffin不要離開，他們當上了他的求愛老師，可惜是以動物的方式……
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.