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姜文,葛优,周韵,舒淇,文章,王志文,洪晃,刘利年,那英,刘索拉,牛犇,姜洪齐北洋政府统治时期，盘踞上海的军阀武大帅之子武七（文章 饰）为洗刷耻辱，辗转找到了前清遗老马走日（姜文 饰）求助。在此之后，马走日和在法租界当警督的发小项飞田（葛优 饰）联手策划了名为“花域总统选举”的大型选美活动，和马从小就认识的现总统完颜英（舒淇 饰）成功卫冕。谁知就在繁华喧嚣的最顶点，命运之车竟急转直下驶向深渊。在一个平凡的早上，完颜陈尸郊野，张皇失措的马走日找到武七的姐姐武六（周韵 饰）及其母亲齐老师（洪晃 饰），希望通过大帅帮自己洗刷杀人犯的罪名，结果却盲打误撞救下了险些被整死的项飞田。背负杀人犯之名的马绝路逃亡，而武六则以该事件拍摄了名为《枪毙马走日》的电影，马的命运愈加扑朔迷离…… 本片根据民国奇案“阎瑞生案”改编。
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鲁克·高斯,罗伯特·戴维,戴维·费尔南德斯,芭芭拉·帕多,帕特里夏·德·莱昂,Luis Gatica,Jeanette Samano,Jack Carlisle,Alain Mora,Zokai Holmes,Denitza García,Jordan Simkovic,Tonya Bordeaux,Mopar Murray,Laura MartinThe film, which marks the directorial debut of singer-turned-actor Luke Goss, is currently in post-production. Also starring Goss, alongside Robert Davi and Patricia De Leon, it tells the story of a man who must go to extreme lengths to discover what happened to his kidnapped wife and daughter. Soda intends to launch the film to coincide with the reunion concert tour of Bros., the 1980s' pop band Luke performed in with his brother Matt. The reunion was original intended as a one-off concert at London's O2 Arena on August 19, marking the anniversary of the band's last concert in 1989. However, when that show sold out within a minute of going on sale the tour was expanded to include six further dates at the O2 and at other venues around the U.K. in August
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.