Upon arrival to Venus, cosmonauts find furious volcanoes and sundry prehistoric beasts in Klushantev's film, based on a novel by the Soviet sci-fi writer Aleksandr Kazantsev. Footage has been recycled in three Corman productions: Voyage to the Prehistoric Planet, Queen of Blood, and Voyage to the Planet of Prehistoric Women (the directorial debut of Peter Bogdanovich).
　　83min

　　侵華戰(zhàn)爭(zhēng)時(shí)期，日本人將掠得的北京猿人頭骨偷運(yùn)回國(guó)，途中沉沒，成為一樁疑案。當(dāng)年日本人將頭骨化石偷運(yùn)回國(guó)，隱藏幾十年后，在和平環(huán)境下重新進(jìn)行研究。他們將頭骨化石中的DNA殘片提取出來，進(jìn)行培育，然后送入太空，據(jù)說這樣便可以憑借太空中的粒子幅射，使其蘊(yùn)育成熟。不料，載著北京猿人胚胎的飛船失事，墜入海島，而北京猿人卻成功地誕生了。
　　而王祖賢扮演的中國(guó)美麗女間諜的使命就是將北京猿人偷運(yùn)回國(guó)，從此便和日本科學(xué)家展開了明爭(zhēng)暗斗。最后，雙方不分輸贏，而是達(dá)成了共識(shí)：北京猿人不是任何一國(guó)的財(cái)富，他們屬于大自然。于是，猿人一家三口和一只同樣由基因技術(shù)復(fù)制出來的猛瑪象被放歸了自然。

　　本片根據(jù)艾德加·賴斯·巴勒斯的小說改編而成。講述的是第一次世界大戰(zhàn)期間，一艘德國(guó)潛艇在撞沉一艘英國(guó)人的船以后，救起了幸存者。但是這艘潛艇開錯(cuò)了方向，將這些幸存者帶到了一片未知的土地上。那里，棲息著大量的恐龍和穴居人。他們能順利地重返家園嗎？

　　獲得第24屆圣丹斯電影節(jié)劇情片類評(píng)委會(huì)大獎(jiǎng)的《雷管》，講述的是四位合作者出于興趣發(fā)明了一臺(tái)查錯(cuò)儀器，卻意外地發(fā)現(xiàn)這臺(tái)儀器擁有強(qiáng)大的商業(yè)價(jià)值，最終四人相互爭(zhēng)斗的局面?！独坠堋肥菍?dǎo)演什恩-卡魯斯(ShaneCaruth)首次執(zhí)導(dǎo)的劇情長(zhǎng)片，該片由他自己投資，并身兼編劇、導(dǎo)演、主演數(shù)職，體現(xiàn)出獨(dú)立電影的“DIY”精神。另外，令人津津樂道的是該片不足7000美元的超低制作成本，只相當(dāng)于一輛富康車的價(jià)錢……

　　科學(xué)萬能の現(xiàn)代、だが未だ地球上には解明できぬ謎が殘されている……。東北地方に、婆羅陀魏山神という神をまつる村があった。訪れた調(diào)査隊(duì)はそこで生ける神?バラダキを目撃する。それは湖に棲息する中生代の恐竜?バランであった。急遽出動(dòng)した自衛(wèi)隊(duì)の攻撃を逃れ、バランは空へと舞い上がる。やがて姿を現(xiàn)したバランは、浦賀水道から東京上陸を狙う。３６ミリ機(jī)関砲さえ跳ね返すバランに対し、自衛(wèi)隊(duì)はダイナマイトの２０倍もの威力を誇る特殊火薬をもって対抗するが……。ミニチュアワークは相変わらず冴えているが、“未知の謎”を主題にしているわりにはストーリーが平板。冒頭からバランの全身を出し、その破壊力の描寫に終始している感がある。資料によっては「東洋の怪物」のサブタイトルも見受けられるが、フィルム?クレジット上には存在しない。

　　毎年夏と冬に怪獣映畫を公開する東寶との直接対決を避けて春休みに公開することになった“ガメラ“シリーズ。富士火山帯の活動(dòng)で出現(xiàn)したギャオスは、名古屋を火の海にするが、炎を好むガメラが現(xiàn)れ、陸?海?空を舞臺(tái)に死闘が展開される。

　　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.

　　朝鮮戰(zhàn)爭(zhēng)后期的1953年7月,當(dāng)戰(zhàn)爭(zhēng)各方在進(jìn)行和平停戰(zhàn)談判時(shí),美軍為了在談判桌上增加籌碼,命令克萊門斯中尉率領(lǐng)美軍一個(gè)連進(jìn)攻沒有軍事價(jià)值的255高地.他們知道板門店停戰(zhàn)談判可能隨時(shí)會(huì)達(dá)成和平協(xié)議,所以一些士兵不太愿意做無謂犧牲.然而,克萊門斯中尉認(rèn)為這是他們的愛國(guó)職責(zé),在他的指揮下,美軍在豬排山陣地上與中朝軍隊(duì)進(jìn)行爭(zhēng)奪戰(zhàn),甚至進(jìn)行殘酷的肉搏戰(zhàn).等到增援部隊(duì)到達(dá)時(shí),135人的連隊(duì)打的就剩下25個(gè)人.

　　本片講述了一位名叫阿妙的女子人生。偷渡失敗后，阿妙只好與唯一的親人奶奶一起生活。成長(zhǎng)于市集和車站間，對(duì)過去的敏感，充滿波折的生活環(huán)境，曾經(jīng)愛過的小混混興馬（H?ng M?）背叛，令她干起了違背良心的事。阿妙燒掉市集，坐牢后再犯殺人。與松英雄（Tùng Hero）的相遇是阿妙江湖生涯中巨大轉(zhuǎn)折。阿妙的名字不再存在，取而代之的是綽號(hào)“香站”（暗指在車站市集賣香的女子）....改編自作家阮廷秀的小說，取材于原型人物容霞（ Dung Hà）的真實(shí)故事。

　　年輕男孩死于非命，戰(zhàn)火因而在雅典娜社區(qū)全面引爆，站在沖突核心的是受害者的哥哥們。