東京殘酷警察
東京警察株式會社，亦稱;東京殘酷警察這是一個在近未來成立的警察私有化組織，他們的權力甚至凌駕于法律之上，以保護人民生命安全之名，對一切罪犯進行殘酷拷問和虐殺。不僅罪犯談虎色變，連普通市民也噤若寒蟬。 公正善良的父親被殺害，自幼被局長撫養大人的少女留加（椎名英姬 飾）長大后加入東京殘酷警察部隊，成為一名干練的女警察。彼時一種名為;技師 ;的變異人種橫行世間，他們會從傷口處變出殺人兇器，危害性極大。為了鏟除這些怪物，警察部隊展開大規模地搜捕和屠殺，甚至普通市民也難以幸免。而留加在追捕幕后黑手的過程中，信念漸漸開始動搖 導演西村喜廣，曾擔任《循環自殺》、《人肉機器》等影片的特技導演。
即刻觀影
劇情賞析
編輯推薦
機動戰士高達閃光的哈薩維
小野賢章,上田麗奈,諏訪部順一,齊藤壯馬,津田健次郎,石川由依,落合福嗣,武內駿輔,早見沙織,松岡美里,澤城千春,宮崎游,天崎滉平,綿貫龍之介,田中光,草野峻平,種崎敦美,新祐樹,綾見有紀,鷲見昂大,尼古拉·法萊那澤,越后屋浩介,藤高智大,Volcano太田,川口啟史,田村千惠,井川秀榮,吉富英治,木曾寬子,佐佐木祐介,吉田健司,高橋雛子,高橋大輔,瀧村直樹,福西勝也,佐伯美由紀,本多新也,木野日菜,內田紳一郎,櫻岡敦子,地藏堂武大,川上洋平,磯部寬之,白井真輝,ASHLEY,JAMES,SAYAKA,山本作以哈薩維為主角，采取三部曲的形式，講述“逆襲的夏亞”之后的故事。
四封情書
費昂·奧謝,安·斯凱利,皮爾斯·布魯斯南,海倫娜·伯翰·卡特,加布里埃爾·伯恩尼古拉斯·考夫蘭和伊莎貝爾·戈爾注定要在一起。問題是他們是否會發現。正如鬼魂、命運和真愛的純粹力量將尼古拉斯和伊莎貝爾拉在一起一樣，生活也有可能將他們分開。
丟失的彩票
翁拉維·那提通,芬蒂拉·皮皮亞克隆,娜帕帕·丹特拉庫爾,蘇提拉克·素維杰拉一個搶劫喜劇電影，關于一群人的生活從手嘴一起作為一個團隊的使命，從一個黑手黨債權人拿了中獎的彩票不知道它贏得了3000萬泰銖的獎金回來!
為了所有的女孩
埃里卡·韋塞爾斯,Hlubi Mboya,Leshego Molokwane,Nomvelo Makhanya,德翁·洛茨,莫蘇西·麥格諾,Brendon Daniels,J.P. du Plessis,Lizz Meiring,Rafiq Jajbhay,Masasa Mbangeni,本·克魯格,Tamarin du Toit,Marcus Mabusela,Cindy Swanepoel,馬特·斯特恩一名探員和一名連環殺手組成了看似不可思議的小分隊，共同對抗全球拐賣兒童和性奴販運網絡。
浮云世事
卡蒂·奧廷寧,卡里·瓦納寧,葉琳娜·薩羅,薩卡里·庫斯曼嫩,馬庫·佩爾托拉愛娜（卡蒂·奧廷寧 Kati Outinen 飾）和凱瑞（Kari V??n?nen 飾）是一對感情十分要好的夫妻，他們一個是餐廳經理，一個是電車司機，盡管經濟并不寬裕，甚至有些“緊巴巴”，但很顯然，照此發展，兩人的未來充滿了光明和希望?！ 〗洕C的到來讓愛娜和凱瑞的家庭也陷入了危機，愛娜所在的餐廳破產倒閉，凱瑞在公司的“裁員抓鬮”中不幸中彩，夫妻兩人同時失去了工作，家里的貸款還未還完，生活露出了真實而殘酷的面孔，愛娜和凱瑞不知該如何是好。雖然丟掉了工作，但夫妻兩并沒有丟掉斗志和尊嚴，為了生存，他們做出了種種努力，不幸的是，這些努力均以失敗告終。在此走投無路之際，愛娜曾經的老板出現在了愛娜的面前，他帶來了一個機會，它有可能壞的，但也有可能是好的。
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.