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多里安·波古策,德拉戈什·布库尔,亚历山德鲁-维克多·内姆特亚努,诺拉·库普辛库,安迪·瓦斯卢亚努,尤安娜·弗洛伦蒂娜·迪米特流,米尔卡·巴努,伊莱亚斯·费金,艾丽莎·卡林,伊琳娜·诺阿特斯,亚历山德鲁·帕帕多波尔,谢尔班·帕夫卢超渡
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小林恵,山口纱弥加,羽野晶纪,二見一樹,藤沢麻弥,萩原流行,田中ひろ子,荒川強啓,寺尾聪,大宝智子,須藤真里子,高橋ひとみ,梨本谦次郎临冬
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疯狂海盗团2
凯瑞·豪根·西德尼斯,Sienna Rosie Schei,David Leander Helgor,Lisa Stokke,哈瓦德·巴克,尼尔斯·约恩·卡尔斯塔德,杰普·贝克·劳尔森,Jan Martin Johnsen,Fridtjof Stensæth Josefsen,Terje Formoe,Charlotte Frogner,雅各布·奥福特布罗挚友雷文和粉红公主在令人闻风丧胆的海盗、七海之王剑齿虎船长的麾下服役。狡猾的格罗尔伯爵夫人西比拉袭击了他们的船，偷走了珍贵的船首像并绑架了粉红公主—这一切都是她精心策划的，旨在诱捕剑齿虎船长，征服海盗的家园。
精灵宝可梦：去往超克的时空
松本梨香,大谷育江,上田祐司,丰口惠美,小樱悦子,林原惠美,三木真一郎,犬山犬子,西村千奈美,雪野五月,小西克幸,阪口大助,伊东美弥子,古岛清孝,藤本让,岸祐二,熊井统子,真堂圭,三宅健太,逢坂力,中西英树,川上贵史,传坂勉,寺谷美香,米泽圆,石冢运升,秋山龙次,马场裕之,山本博,高岛政宏,中川翔子,山寺宏一,北乃绮,美轮明宏以成为神奇宝贝大师为目标，小智（松本梨香 配音）、小刚（うえだゆうじ 配音）和小光（豊口めぐみ 配音）带着各自的神奇宝贝在世界各地进行艰苦的修业之旅，今天他们历经长途跋涉终于来到了风景秀美的米琪亚镇。在当地一对小兄妹的介绍下，小智一行前往神殿遗址游玩。谁知却遭遇了极其危险的情况。关键时刻，掌管时间的迪亚鲁加和守卫神殿的西娜（北乃きい 配音）、凯宾（岸祐二 配音）帮助了他们，能与神奇宝贝心灵沟通的西娜还熄灭了冥王龙的怒火。从西娜口中得知，创造了世界的神奇宝贝即将苏醒，它不仅会使时空扭曲错乱，还将为世界带来毁灭性的灾难…… 本片为神奇宝贝系列第十二部电影剧场版。
百烛游戏2
Magui Bravi,Nacho Francavilla,Josefina FariñaA team of influencer bloggers decides to hold a ritual at the mansion of the "black countess". A fan of the supernatural, she disappeared without a trace after she was offered to play a game that was supposed to take her to another dimension. By evoking the spirit of the Countess, bloggers let otherworldly forces into the world. The one who can bring the demons back will survive.
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.