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安妮·霍爾
伍迪·艾倫,黛安·基頓,托尼·羅伯茨,卡羅爾·凱恩,保羅·西蒙,謝莉·杜瓦爾,珍妮特·瑪戈林,科琳·杜赫斯特,克里斯托弗·沃肯,唐納德·賽明頓,瓊紐曼,馬丁羅森布拉特,亨澤爾,拉舍爾·諾維科芙,拉塞爾·霍頓,馬歇爾·麥克盧漢,瑪麗·博伊蘭,約翰·多馬尼安,波波·馬羅夫,Rick Petrucelli,克里斯·甘佩爾,迪克·卡維特,馬克·雷納德,約翰·格洛弗,約翰·丹尼斯·約翰斯頓,勞麗·伯德,杰夫·高布倫,查爾斯·萊文,Johnny Haymer,邁克爾·阿羅寧,Ved Bandhu,Jim McKrel喜劇演員艾維·辛格（伍迪·艾倫 Woody Allen 飾）是這樣一個人：非常介意自己的猶太人的出身；自認為有童年陰影，看了十六年心理醫(yī)生沒見好轉卻一直付錢看；有點阿Q精神，但對人生卻充滿消極；喜歡一直講無聊的笑話。正因為自身的神經質特質，艾維經歷了兩次失敗的婚姻。艾維 遇到了安妮（黛安·基頓 Diane Keaton 飾）――一直夢想成為歌星的女孩，兩人漸漸墮入愛河。安妮在艾維的幫助下歌唱技巧迅速提高，但她的父母卻反對她與艾維來往。安妮得到了唱片商托尼的注意，獲邀前往好萊塢灌錄唱片，艾維跟著前往了好萊塢向安妮求婚。
弗蘭肯斯坦的新娘
Sev Philippou,Nick Launchbury,Vincent Donato在弗蘭肯斯坦怪物結婚的那天，村民們暴動并殺死了他。他的新娘逃跑了，發(fā)誓要報復負責的市民，并最終復活了怪物——在她身后留下了血跡。
黑暗收割
卡塞伊·萊克斯,艾默莉·克魯奇菲爾德,Dustin Ceithamer,亞歷杭德羅·阿卡拉,以斯拉·巴茲頓,杰瑞米·戴維斯,伊莉莎白·里瑟,盧克·柯比,Austin Autry,梅根·貝斯特,杰克·布雷楠,布里坦·道爾頓,史蒂文·麥卡錫,Maclean Fish,納扎利·德姆克維奇,West Mulholland,Carter Heintz,Logan Tomanek,Dylan McEwan,Ryder Dueck大衛(wèi)·斯雷德(《漢尼拔》)將為米高梅執(zhí)導新片[黑暗收割](Dark Harvest，暫譯)。影片根據(jù)同名恐怖小說改編，邁克爾·吉里奧([龍與地下城])撰寫劇本。故事發(fā)生在1963年的萬圣節(jié)，圍繞著一個叫“十月男孩”展開。每年萬圣節(jié)，他都會手拿屠刀，從玉米地里爬起來，走向小鎮(zhèn)。無論是獵人還是獵物，“十月男孩”都是一年一度生死儀式的獎品。皮特知道，殺死“十月男孩”是他逃離這個窮途末路的小鎮(zhèn)的唯一機會。他愿意冒著生命危險去贏得勝利。但在夜晚結束之前，皮特將發(fā)現(xiàn)“十月男孩”可怕的真正秘密。
雛菊2006
全智賢,鄭雨盛,李成宰,姜大衛(wèi),林迪安阿姆斯特丹，兩個男人愛上了同一個女人，注定了一段糾纏的故事。惠瑛（全智賢飾）是畫家，每天到廣場幫路人畫肖像，而像她一樣風雨不改的，還有某人送來的一盤雛菊。每天雛菊總是準時送到，讓她心里悸動而好奇。一天，匆匆而過的正佑(李成宰 飾)遇上了畫家。他本是國際警察，來這個城市追捕殺手，然而卻迷上了溫婉動人的惠瑛，他讓惠瑛幫他描肖像，他們的愛情在萌發(fā)盛開。這些情景，送花人看在眼里，痛在心里。他的身份注定了他必須給正佑讓出位置，對惠瑛默默付出。因為，他就是正佑所尋找的殺手樸義(鄭宇成 飾)。但是，強烈的愛終究讓他不再躲在暗處，他決心爭取幸福。二人在法律上，感情上的鮮明對立，注定了不能完滿的結局，鮮血在惠瑛描有雛菊的花布上蔓延開來……
尸咒
金允慧,宋以載,樸智勛,李相亞以實驗電影聞名海外各大電影節(jié)的知名導演輝旭（樸智勛 飾），為了拍攝以舞蹈為主題的新作品，將與新人演員詩映（金允慧 飾）、彩允（宋伊才 飾）一起在廢棄學校的屋頂上進行拍攝。以破格、粗暴的舞蹈動作開始進行拍攝后，演員和制作人們被一股神秘力量吞噬，拍攝現(xiàn)場瞬間陷入慘不忍賭的情況。「活尸蘇醒了！」面對不該醒來的存在，他們的命運將會如何……
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.