池田愛恵里 – ピュア肌あえりん
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致命玩笑3
克丽斯滕·齐恩,本·霍灵斯沃斯,迪恩·阿姆斯特朗,肯·科齐格 Ken Kirzinger,Jesse Hutch,萨拉米切燥热枯燥的长途旅行，怪物卡车司机“锈钉”（肯·科齐格 Ken Kirzinger 饰）的血腥旅程仍未结束，17号公路上布满残肢断体，娱乐着他的邪恶趣味。某个平凡的路边小餐馆，奥斯汀（Gianpaolo Venuta 饰）、米克（Ben Hollingsworth 饰）、爱丽莎（Leela Savasta 饰）、鲍比（Jake Manley 饰）和茱尔（Kirsten Prout 饰）等五个准备参加公路汽车拉力赛的青年男女正在讨论行车路线，他们向邻桌打听17号公路存在与否，却得知了“屠杀小巷”的传言和警告。 无所畏惧的年轻人当然不信这个邪，他们快意上路，并遭遇“锈钉”的卡车。年轻人仗着汽车性能的优势，恣意戏耍“锈钉”，但却惹到了一个绝不能随便招惹的恶魔……
大明嫔妃之逐鹿
宋洋,何杜娟,朱一龙,陈一诺,王艺曈,王春妹处死朱由桦的当天，朱由桦离奇失踪，梅儿和兰心都因此受到责罚。兰心不顾太子反对，执意要将朱由桦送还给三皇子，却发现马车上的孩子竟然不翼而飞。兰心和太子感情出现嫌隙，梅儿和金碧瑶使出浑身解数争得太子宠爱。太子和万历等人到郊外狩猎，有人暗杀太子，梅儿为太子挡下一箭，生命垂危，太子深受感动，认为欠梅儿太多。上官鸿业调查太子行刺事件，却发现幕后的真凶并不是众人猜想的三皇子，而是梅儿。梅儿册封当天，郑贵妃揭出了梅儿乃娼妓之女的秘密，让梅儿不能受封。郑贵妃趁势发动自己的亲信弹劾上官鸿业，兰心救父心切，却误会太子，两人再次不欢而散。失踪多日的朱由桦突然出现在兰心房中，将朱由桦放入篮子中带入宫去，却被梅儿换成了旋儿，兰心带“朱由桦，”进宫，巧遇为上官鸿业来求情的太子，太子再次产生了误会。在王恭妃和郑贵妃的逼迫下，太子提剑杀死了璇儿 ，等知道时璇儿已经没有了呼吸。兰心伤心欲绝。兰心带幸存的朱由桦离去，太子策马追去，却寻不见踪影了。皇上以太子妃一位不可久缺为由，册封大学士王中泽之女王氏为太子妃。
老破车
林祺堂,Kristin Tiara,Richard Low开着一辆老奔驰，年迈的阿福刚失去妻子，寡言的他就像被困在过去的时光里。他变卖家当，处理挚爱的破车，准备移民加拿大与儿子会合，然而生活却没有轻易放过他。和女儿的心结难解，也见证旧友年华逝去、世事无常，突如其来的变故，更一下子打乱了他的计划，将他推入绝境。与跨性别女性娟妮萍水相逢，或许是生命赠与的最后契机，他在路上还有什么未尽的习题？
大明嫔妃之反攻
宋洋,何杜娟,朱一龙,陈一诺,关慧卿,王艺曈,王春妹因为太子在“朝鲜之役”上所表现出的高瞻远瞩的智慧，万历对太子的态度大大改观，率众人到太子府看望自己的皇长孙。宴席之上，三皇子主动要求速速离开京城，到洛阳就封，众人大感疑惑。辞行宴上三皇子早早酒醉，原来是想借此机会带姚芊芊私奔，不想被金碧瑶破坏。知道三皇子和姚芊芊私情的王恭妃决定有所行动。王恭妃设计让金碧瑶假怀孕，姚芊芊在郑贵妃的胁迫下打算除掉金碧瑶腹中骨肉，却掉入王恭妃的陷阱。王恭妃以“善妒”为由，废掉了姚芊芊的太子妃。而一时间关于太子妃红杏出墙的传闻又弥漫京城，万历要王恭妃彻查此事，王恭妃巧妙的将太极推给了郑贵妃，姚芊芊命悬一线，而郑贵妃面对王恭妃步步为营的反攻，已回天乏术，她打算弃车保帅……姚芊芊驾鹤西去，三皇子悲伤不已。郑贵妃准备杖毙朱由桦。兰心为了保孩子周全，不惜与太子吵架。太子生气之下和梅儿一夜缠绵，认为梅儿是最懂他的人。
纽伦堡的审判
斯宾塞·屈塞,伯特·兰卡斯特,理查德·威德马克,玛琳·黛德丽,马克西米连·谢尔,朱迪·加兰,蒙哥马利·克利夫特,维尔纳·克伦佩雷尔讲述二战后在纽伦堡提审德国纳粹计划的法律关系者，三个被告提审的原因是给犹太人施行断种手术。担任主审判长的是美国人赫鲁特，他主张其中两个被告无罪；而德国司法部长亚林克竟对此事保持沉默，但检查官罗森上校却激烈的指责被告，因此三个人展开激烈的辩论。审讯继续进行下去。而美国的高级官员们希望能在审判中获提德国所犯罪行的良好证明，因此对审判施以极大的压力，但赫鲁特坚守法律的正义立场，给予了最公正的判决。在宣布判决结果时，只有亚林对赫鲁特审判长的态度表示赞赏。
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.