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暗夜鬼抓床
肖娜·麦克唐纳,Leah McNamara,罗斯·诺贝尔Paralyzed after a terrible accident, Dana struggles to regain her life and family when she encounters a malevolent ghost in her hospital room.
那家伙
周元,柳海真,李裕英,刘慧英,李俊赫,金英熊1999年釜山的一个小村庄里，女学生恩智（刘慧英饰）被害身亡，她的哥哥张宇（周元饰）也失去了唯一的亲人，他决心一定要查出杀害妹妹的凶手。由于一点线索都没有，张宇不得不借助能预知死亡的少女（李柔英饰）的力量来追查真凶，并在追查的过程中，盯上了小区内平常人缘和口碑都不错的药店药师闵药局（刘海镇饰），虽然没有证据，但是张宇却认定他就是“那个家伙”，于是开始24小时紧盯着闵药局 。
鬼鲨
Mackenzie Rosman,Dave Randolph-Mayhem Davis,Amy Brassette,Sloane Coe,金·柯林斯粗鲁蛮横的博贝克（金·科林斯 Kim Collins 饰）和女儿维多利亚（Amy Brassette 饰）参加钓鱼大赛，谁知到手的鱼儿却被一条白鲨吃掉。博贝克勃然大怒，竟然用炸药对付鲨鱼，结果父女引来了可怕的杀身之祸，连驾驶游艇的船长也无法幸免。次日，爱娃（Mackenzie Rosman 饰）、卡梅隆（Jaren Mitchell 饰）、米克（Shawn C. Phillips 饰）、布雷西（Dave Randolph-Mayhem Davis 饰）等几名年轻人来海边玩耍，可在欢乐之时一条全身散发荧光的鲨鱼向人们发起猛烈攻击。原来鲨鱼也有憎恶怨恨之心，昨晚的鲨鱼虽被博贝克炸死，但它的怨念使它化身为复仇的鬼鲨鱼，向所有人类展开报复。 而这一切的背后，又藏着不可告人的秘密……
机器人艺妓
木口亚矢,长谷部瞳,斋藤工,竹中直人,志垣太郎,亚纱美少女芳江（木口亚矢 饰）本是某艺妓馆内的低等侍女，她潜心伺候身为当家艺妓的姐姐菊奴（长谷部瞳 饰），但是菊奴对她颐指气使，绝情绝义。偶然机会，芳江过人的膂力被影野制铁的少爷影野光（斋藤工 饰）所发掘。影野制铁表面上是一家大型家族式钢铁公司，暗中则受命于国家，担负武器的制造工作。与此同时，其创始人影野拳山（志垣太郎 饰）怀有不可告人的野心，他四处网罗人生失意的女孩，将她们训练成美貌与杀伤力并重的艺妓杀手，甚至通过身体机械化改造来加强女孩们的实力。 懵懵懂懂的芳江与菊奴被骗进入影野制铁，姐妹俩更被迫互相残杀。在此过程中，她们为了超越对方而不断加强训练和改造，继而成为影野家族不可或缺的机器人杀手。然而随着任务的进行，芳江却渐渐发现亲情的珍贵以及影野家族的丑恶用心……
从此以后
康妮·布里登,乔瓦尼·索罗菲瓦,托马索·巴西利,巴贝蒂达·萨乔,亚历山德罗·布雷萨内罗,Syama Rayner,安德烈亚·布鲁斯基,Freya Hannan-Mills,Giorgia Trasselli,Lollo Franco当Claire的女儿在一次濒死体验后表现出越来越令人不安的行为时，她开始相信自己的女儿把邪恶的东西从另一个世界带回来了。
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.