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大明嬪妃之反攻
宋洋,何杜娟,朱一龍,陳一諾,關慧卿,王藝曈,王春妹因為太子在“朝鮮之役”上所表現出的高瞻遠矚的智慧，萬歷對太子的態度大大改觀，率眾人到太子府看望自己的皇長孫。宴席之上，三皇子主動要求速速離開京城，到洛陽就封，眾人大感疑惑。辭行宴上三皇子早早酒醉，原來是想借此機會帶姚芊芊私奔，不想被金碧瑤破壞。知道三皇子和姚芊芊私情的王恭妃決定有所行動。王恭妃設計讓金碧瑤假懷孕，姚芊芊在鄭貴妃的脅迫下打算除掉金碧瑤腹中骨肉，卻掉入王恭妃的陷阱。王恭妃以“善妒”為由，廢掉了姚芊芊的太子妃。而一時間關于太子妃紅杏出墻的傳聞又彌漫京城，萬歷要王恭妃徹查此事，王恭妃巧妙的將太極推給了鄭貴妃，姚芊芊命懸一線，而鄭貴妃面對王恭妃步步為營的反攻，已回天乏術，她打算棄車保帥……姚芊芊駕鶴西去，三皇子悲傷不已。鄭貴妃準備杖斃朱由樺。蘭心為了保孩子周全，不惜與太子吵架。太子生氣之下和梅兒一夜纏綿，認為梅兒是最懂他的人。
復仇公主斯嘉麗
蘆田愛菜,岡田將生,役所廣司,市村正親,吉田鋼太郎,齊藤由貴,松重豐,山路和弘,柄本時生,青木崇高,染谷將太,白山乃愛,白石加代子在戰火紛飛的中世紀王國中，手握利劍的斯嘉麗公主為替父報仇毅然踏上征途，卻以失敗收場。當她再次醒來時，發現自己身處神秘的“死者之國”。在那里，她邂逅了一位來自現代的理想主義青年；他的善意與慈悲，動搖了她心中根深蒂固的仇恨。當殺父仇敵再度現身，斯嘉麗必須做出抉擇：是繼續執念于復仇，還是尋找到仇恨之外的人生意義。
迪茲先生進城
加里·庫珀,琪恩·亞瑟,喬治·班克羅夫特,萊昂內爾·斯坦德,道格拉斯·敦布里勒迪茲（加里·庫珀 Gary Cooper 飾）是一位小有成就的商人，早已經衣食無憂的他希望能夠從繁忙的事務中脫身，將時間更多的花費在自己的興趣愛好之上。一筆價值兩千萬的巨額遺產從天而降落到了迪茲的頭上，報社問詢派來了記者芭比（琪恩·亞瑟 Jean Arthur 飾），希望她能夠從迪茲的身上挖掘出一些吸引眼球的新聞。剛開始，芭比十分看不慣迪茲的處世為人，但隨著時間的推移，她漸漸被后者的善良和正直所吸引，兩人之間產生了浪漫的愛情。迪茲決定將得到的遺產用于幫助深陷貧困的人，這一舉動遭到了律師約翰（Douglass Dumbrille 飾）的質疑，他堅定的認為迪茲的腦袋可能出了什么問題，甚至將他告到了法庭。
我的野蠻同學
謝霆鋒,馮德倫,容祖兒,彭敬慈,鐘兆康,余家豪,吳志雄在一間教學素質低下的學校里，有一個不成文的傳統：學生們凡是遇到了爭執，都不能告訴老師家長，只能自己用拳頭解決。石頭（謝霆鋒 飾）是最能打的一個同學，一次幫助富家子Edward（馮德倫 飾）解圍，彼此成為朋友，二人也因此得罪了學校里的好戰分子。阿鳳（容祖兒 飾）一直暗戀既帥氣學習有出色的Edward，而Edward認為學生最緊要是學習，會考時間逼近，Edward便義務幫助石頭與阿鳳補習。由于家境富有，Edward竟然在考試當天被綁架了，石頭決心把他救回……
牯嶺街少年殺人事件
張震,楊靜怡,張國柱,王啟贊,林鴻銘,金燕玲,王琄,張翰,姜秀瓊,賴梵耘,柯宇綸,譚志剛,馮國強,陳湘琪,金士杰結識小明（楊靜怡）前，小四（張震）是典型的乖仔，是父母的希望和兄妹的驕傲（一家人指望他考上名牌大學將來提升全家的社會地位），他有一個喜歡搖滾樂的自稱“小貓王（王啟贊）”的好友，兩人雖會去樹林看人幽會，但過的是與周圍諸多在“小公園”混的少年人完全兩樣的生活。 喜歡上小明后 ，小四便像跌進一個無底深淵，開始被外界的各種力量牽著鼻子走。新識仰慕對象honey（林鴻銘）意外身亡，一向敬重的父親的自尊與精神因為某次事件嚴重受損，加上將一次次“欺騙玩弄”他感情的小明“看透”，血氣方剛又有很強道德感的小四終于走上犯罪的道路，期望用自己的刀結束事件的根源。但小四不知的是，他眼中的根源只是這條食物鏈中微不足道的一環。
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.