劇情簡介
進取的大學生同意運行他的教授拉斯維加斯洗車，以免不能上學。但它是拉斯維加斯狂野，當他決定員工與華麗的穿著比基尼的女孩。
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克里斯蒂
西德尼·斯維尼,本·福斯特,梅里特·韋弗,凱蒂·M·奧布萊恩,托尼·卡瓦勒羅,伊桑·恩布里,查德·科爾曼,杰西·加伯,邁爾斯·穆森登,比爾·凱利,阿爾特·紐柯克,史蒂芬妮·鮑爾,考特妮·格蕾絲,凱文·J·奧康納,阿德里安·洛克特,阿里莎·康納,科爾曼·佩迪戈,布萊恩·希巴德,塔瑪拉·霍普金斯,斯蒂芬·羅亞爾·菲利普斯影片講述美國著名拳擊運動員、“女洛奇”克里斯蒂·馬丁的故事。克里斯蒂來自美國西弗吉尼亞州小鎮一個相對保守的家庭，當時她作為一個年輕的女同性戀者不被允許做自己，所以用拳擊作為表達自己和憤怒的工具。她必須在生活中做出一些危險而根本的妥協，其中最嚴重的是嫁給一個極其危險的男人。 1989年，馬丁遇到了她的經紀人、后來的丈夫吉姆·馬丁，生活發生了轉變。她打破界限，成為第一個與金牌拳擊推廣人唐·金簽約的女性，也是唯一一個登上《體育畫報》封面的女拳擊手。 克里斯蒂的魅力、漂亮外表和對賽場的適應為她贏得了狂熱的粉絲群，并推動她成為次中量級冠軍。但在精心塑造的公眾形象背后，她面臨著個人內心的惡魔、有毒的人際關系以及一次致命的謀殺事件。
召喚藍寶寶
瓦萊麗亞·圣馬丁,賈斯蒂娜·塞瓦略斯,丹妮拉·弗洛姆鮑姆校園里的一場大冒險演變成了都市傳說。當青少年們召喚“藍寶寶”時，某種東西回應了他們。這場游戲蔓延開來，留下的是悲傷和私語。阻止它意味著要面對第一次召喚，以及被召喚的代價。
小鎮突襲
雷·利奧塔,多米尼克·珀塞爾,邁克爾·帕爾巴倫為首的四個刺客,偽造成特勤局特工去到艾倫家里,艾倫是一個因為戰爭失去了丈夫的女人.她家的位置很適合偷襲總統,那些人騙過了當地的警察,只有托德頭腦依然清晰明了,他是個伊拉克的戰爭英雄,曾經和艾倫的丈夫一起服役,托德想辦法殺了他們的一個手下,但被抓了.他們必須在總統被刺殺之前找到一個辦法阻止刺客。。。。。
立體聲
于爾根·福格爾,莫里茲·布雷多,佩特拉·施密特-夏勒,格奧爾格·弗里德里希,賴納·博克艾瑞克經營一家摩托車修理店，和自己的女朋友以及她的年幼女兒幸福的生活在一起，然而這種平靜的生活被一個名叫亨利的陌生人打破了，艾瑞克過去的黑暗秘密陰影開始籠罩這個家庭。我們真的可以完全告別過去嗎？我們可能已經改變了，但是有些過去的行為卻繼續如影隨行。 在《立體聲》中，一個男人充滿熱血、沒有絲毫膽怯的贖罪行為讓我們印象深刻。
野蠻的囧妃：時空黑洞
袁曉旭,張嘉佑,胡浩帆,黃一山一個關于“時間膠囊”的機密研究項目，因能量塊失竊陷入危機，引發了一系列時空穿越事故。現代人蘇寶銀意外接觸到形似手機的能量塊，流離于古代異時空和二十一世紀現代兩個世界之間，美顏國王爺霍靖及兩個隨從為尋找她，也被意外卷入時空黑洞闖入現代。三個古代呼風喚雨的王爺將軍，走入了完全陌生的現代世界，陷入囧境啼笑皆非。回到現代的蘇寶銀在思念王爺的同時，遇上了英俊睿智的孫警官，這背后又隱藏著什么樣的驚天陰謀呢？當正義戰勝邪惡，當一切終結，蘇寶銀又回到了原點，再遇她的愛人，卻已形如陌路......
百夜樓
范明,王珞嘉,魏曉璇,樓南光,九孔民國年間，馬文才、張小猴師徒混跡南方做一些冒充高人的騙人勾當，意外卷入一場兇殺案，被誤當做殺人兇手。為解除嫌疑二人不得不留在此地揪出真兇。接二連三的怪事兒似乎證實了之前不詳的傳聞，張小猴發現近日的種種遭遇竟和一個困擾自己多年的夢境有關。
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.