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.

　　时间已经过去了七年，外星怪兽已经冲破了禁区封锁，拓展到世界各地。人类不再处于地球食物链的顶端，不得不为生存而挣扎。为了保护美国的利益，很多士兵被派往了国外与外星怪兽作战，但取得这场战争的胜利希望渺茫。
　　诺亚是一名老兵，他新接到一项命令：深入怪兽的核心区去解救一名困在那里的美国大兵，然而这项任务遭遇意外，诺亚的通讯和运输都被切断，队友只剩下一个刚刚从军校毕业、毫无实战经验的小鬼——并且他的兄弟还是诺亚...

　　第二部仍以女孩卡迪（维奥莱特·麦格劳 Violet McGraw 饰）和她的姨妈珍玛（艾莉森·威廉姆斯 Allison Williams 饰）为主线，她们遭到了下一代机器人“阿米莉亚”（伊万娜·萨赫诺 Ivanna Sakhno 饰）的疯狂攻击，而本已沦为智能语音助手的梅根（珍娜·戴维斯 Jenna Davis 配音），似乎是帮助她们对抗阿米莉亚的绝佳选择。

　　故事发生在一个虚构的科幻世界之中，在这里，拥有着超能力的异能人和普通人生活在一起，曾经，因为超能力被滥用至失控，人类经受了惨痛的教训，因此，在创伤渐渐恢复之后，这些超能力者便沦为了遭受政府严密监控的“二等公民”，处处受人歧视，甚至遭到了军方追捕，被捉到的人将会被送往隔离 区隔离。
　　克洛伊（莱克西•科尔克Lexy Kolker 饰）是一个单纯善良的孩子，和父亲（埃米尔•赫斯基Emile Hirsch 饰）过着相依为命的生活。平日里，父亲严禁克洛伊踏出家门一步仿佛屋外的世界充满了危险。一天，在冰淇淋的诱惑下，克洛伊偷偷的出门了，并且意外的得知，自己的母亲或许依然活在世上。

　　发现一颗巨大的陨石正朝地球方向奔来，并将于十八日内撞上地球时，美国太空总署想出阻止该陨石与地球相撞造成人类毁灭的办法：派人登陆陨石的表面，钻洞贯穿至陨石的地心，放入核弹引爆。但这一切必须要在十八日内完成。
　　钻油井工头（布鲁斯•威利斯）被委以重任，而他的下属（本•阿弗莱特）恰也是其女儿（丽芙•泰勒）的男朋友，此次任务能否成功完成，关系到女儿下半辈子的幸福。为此，他和下属接受了太空总署的高强度的训练，以期一夜之间从打井工人变成救世英雄。

　　帕特里克昏昏欲睡在一家小型私立医院，他唯一的举动是非自愿地随地吐痰。当一个刚与丈夫分开的年轻护士开始在医院工作时，她感觉到帕特里克正在与她交流，他似乎正在利用自己的心理力量来操纵她生活中的事件。

　　曾荣获奥斯卡金像奖的著名导演安德鲁·斯坦顿带来全新力作《异星战场》，一部以神秘壮丽的火星为背景的史诗动作冒险巨制。影片根据埃德加·赖斯·巴勒斯于20世纪初创作的经典科幻小说《火星公主》改编，故事 讲述美国内战时期，饱受创伤的前军官约翰·卡特（泰勒·克奇 Taylor Kitsch 饰）无意间穿越到了火星。由于引力不同，约翰成为了力大无穷、弹跳如飞的“超人”，也因此卷入当地几大族群的冲突，周旋于美丽的公主德佳·索丽斯（琳恩·柯林斯 Lynn Collins 饰），英勇的盟友塔斯·塔卡斯（威廉·达福 Willem Dafoe 饰）与狡猾的敌人萨博·赞恩之间。然而地球上战火纷飞带来的痛苦，早已让约翰无心恋战；虽然几大族群都将他视为能够拯救火星的关键人物，可他真的能抛下过去，担负起保卫人民的重任，拯救这个水深火热的世界，扭转异星战场的命运吗？

　　时间来到最终决战的两年后，在本应已迎来和平的地球上，怪兽们再度倾巢而出。
　　与此同时，世界各地相继发生了各种入侵超古代遗迹的事件。而GUTS-SELECT（精英胜利队）也迎来了新的队长——时冈（中村优一 饰），众人开启了调查。
　　一场关乎宇宙前途命运的鏖战就此拉开序幕。
　　挺身而出的G UTS-SELECT、前来驰援的泽塔奥特曼还有身处战斗中心的特利迦奥特曼的面前出现的是……浑身散发着不祥之气的影之继承者——邪恶特利迦的身姿。
　　为了守护大家的笑容，特利迦奥特曼、GUTS-SELECT的队员们以及夏川遥辉/泽塔奥特曼（平野宏周 饰）、伊格尼斯/黑暗特利迦（细贝圭 饰），将一同投身这场光与影的大决战！

　　电影版《Battlestar Galactica:Razor》，Razor的故事和主剧第三季和第四季并没有时间和剧情上的关系，Razor主要讲的是在战舰Battlestar Pegasus帕伽索斯在到卡拉狄加之前几个月发生的事情。

　　在阿富汗执行任务的美国空军飞行员科特史蒂文斯上尉（杰克·吉伦哈尔 Jake Gyllenhaal 饰）突然惊醒，发现自己在一辆高速行驶的列车上，而他的身边坐着一个素不相识的女子克里斯蒂安（米歇尔·莫娜汉 Michelle Monaghan 饰）正在与自己讲话。科尔不知自己为什么会在这辆车上，而且他发现自己居然是以另一个人的身份存在，正当他迷惑不解的时候，列车上忽然发生爆炸……
　　科特又一次惊醒，发现自己身处一个密闭的太空仓里，有一位女军官古德温（维拉·法米加 Vera Farmiga 饰）正在通过视频和自己对话，并要求自己报告列车上发生的事情。一头雾水的科特还没搞明白是怎么回事时，他又一次被送上那辆列车。这次之后，科特终于明白自己在执行一件任务，负责调查芝加哥火车爆炸案找到恐怖份子并查出他的下一个目标。科特被一次又一次的送上那辆高速列车，每次只有八分钟的时间调查，调查过程中，科特发现自己已在一周前去世，原来他正在参与是一项“脑波源代码”的秘密任务，这项任务通过已经死亡的科特尚未完全死亡的脑细胞影像来还原事件，调查事情的真相。最终，科特顺利完成了任务，但是他却决定再一次返回列车，拯救列车上那些无辜的生命……

　　一艘豪华的邮轮“阿尔戈号”航行在茫茫的大海之上，船上搭载的除了身价万千的贵妇和富豪外，还有价值无可估量的珍贵货物，然而，在这纸醉金迷的海上生活背后，却隐藏了一个邪恶的阴谋，一群穷凶极恶之徒受到委托，要将这艘邮轮洗劫一空。但是，一种外表可怖的神秘海怪却提前一步袭击了邮轮，富丽堂皇的装潢在霎时间被鲜血淹没。
　　姗姗来迟的强盗们眼前展现的是一副人间地狱的惨状，幸存者崔莉安（法米克·詹森 Famke Janssen 饰）和西蒙（安东尼·希尔德 Anthony Heald 饰）向他们诉说了事情的经过。现在的情况是，阿尔戈号孤立无援，又有嗜血的怪兽潜伏在黑暗之中，本来敌对的双方现在唯有联起手来，共同杀出一条逃生之路。

　　The main character is Dr. Max Holst, a successful neurosurgeon. One day an intense little man named Steinmetz shows up, who has the real ability to create objects out of thin air, using only his mind. As no one believes him at first, he is held at a ward for mental patients, but manifests the key to his door and escapes. As he has a special interest in Dr. Holst, Steinmetz subsequently invites Holst to his large mansion, which is full of expensive paintings and sculptures, and proves to him that he can in fact materialise objects. Steinmetz’s abilities are evolving by leaps and bounds, and is progressing from being able to create objects only to being able to create living things. His ultimate ambition is to be able to create a human being. He tells Dr. Holst that if he will only perform a certain brain operation on him, Steinmetz will become able to attain his goal. He’s got all the necessary equipment set up in his basement. Dr. Holst, however, is too spooked by the whole thing to agree to this mad scheme, and refuses. Steinmetz then sets about manipulating Holst’s life, to pressure him into performing the operation. By then Steinmetz has become able to create a temporary human being, and in the hope that he can perhaps make his own creation perform the operation, he manifests a doppelganger of Dr. Holst. This double proceeds to take over Dr. Holst’s life, creating chaos for him professionally and personally. And then Dr. Holst starts fighting back. The ending has the dual virtue of being both unexpected and satisfying.