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杰森·李,艾米·亚当斯,彼特·丁拉基,詹姆斯·贝鲁什,帕特里克·沃伯顿超人狗最初是一条在警队服役的普通小猎犬，因为执行任务时的一次严重失误，被革职。流落街头的小猎犬被捉到一个动物研究所，邪恶的西蒙（彼德•定克拉吉 饰）博士在那里对流浪狗进行试验，希望能创造出一条超人狗。 小猎犬大闹实验室，阴差阳错成了超人狗，并逃了出去。研究所的一个保安在下班的时候遇见超人狗，并把它带回家，希望借此改善和儿子的关系。 在家里，超人狗发现自己不但力量强大、速度惊人，而且还能说话和飞翔。在保安之子的鼓励下，超人狗决定用自己的力量服务社会，与此同时，邪恶的西蒙博士则在琢磨怎么夺回超人狗，还计划着一个阴险的阴谋……
搜查瑠公圳
朱轩洋,吴卓源,张世,梁修身,朱栢康,姚淳耀,张永正,李雪,潘仪君,詹怀云,马力欧,罗芽里,廖嘉琛,王振复,钱薇真根据1961年轰动全台的“瑠公圳分尸大案”改编。刑警赵子午（朱轩洋 饰）与记者张秀秀（吴卓源 饰）在得知女尸案有幕后阴谋后，联手搏命找寻真相。警方也随后发布巨额悬赏。不料，赵子午父亲、抗日将军赵志升（张世 饰）被列为分尸案嫌犯。媒体得知后开始疯狂报道，一时间这起混杂血案、舆论、政敌的分尸案闹得全城震动……
外星人2025
Annie Ngosi Ilonzeh·Marques Houston·Erica Mena·Drew Sidora·Erica Pinkett·Ken Lawson·Claudia Jordan·Obba Babatundé·Jensen Atwood·Taymour Ghazi·Mark Holzum·Jaime Alvarez·Daniel Rodger·Ashton Williams·Lincoln Blake·Dog在将未婚夫留在祭坛后，梅丽莎和朋友们一起住在一间小屋里。当珍妮被发现在树林里被肢解，外星人袭击了国家时，女孩们必须为生存而战。
寒栗第二季
达妮察·丘尔契奇,米克尔·福尔斯加德,苏菲·格拉宝,卡廷卡·莱尔克·彼得森,厄兹勒姆·萨格拉马克,埃斯特·伯奇,安德斯·霍夫,米歇尔·比约恩-安德森,克里斯托弗·斯瓦内,梅特·弗兰克,安德斯·布林克·马德森,维利·武尔夫·博托夫特,埃拉·约瑟芬·隆德·尼尔松,比约克·斯托姆,玛蒂尔德·尤西比乌斯,伊达·塞西莉·拉斯穆森,优素福·韦恩·维特费尔特,安德斯·尼博格,弗雷德里克·曼瑟,丹·扎赫勒41岁的桑德拉·林德斯特伦失踪后被发现遇害，警方在她的数字足迹中发现，她已被未知凶手网络跟踪数月，对方不仅监视她的一举一动，还发送了带童谣的威胁视频。警探纳雅·图林与马克·赫斯再度联手调查，发现案件与两年前17岁少女艾玛·霍尔斯特的未破凶案手法如出一辙，两名受害者都深陷离婚与抚养权纠纷。随着调查深入，更多线索浮现，凶手的“捉迷藏式猎杀”游戏仍在继续，两人被迫直面案件背后的阴暗真相。
百年好合
郑秀文,古天乐,李冰冰,林雪,韩君婷,张锦程,夏雨,颜颖思富豪洪飞虎（古天乐 饰）因怪病找到峨嵋派掌门王凤（郑秀文 饰），她对飞虎的生性傲慢毫无好感，于是用尽各种奇怪的方法治疗飞虎。王凤的师姐李莫愁（李冰冰 饰）突然出现，并扬言要铲除峨嵋派。未免伤及无辜，王凤尽快医好了飞虎。知道了王凤的恶作剧之后，飞虎愤然离开了。 为了与师姐决战，王凤急需练好“伤心断肠剑”，但从未经历伤心之苦的她 无法领悟“百年好合”这一招式的要领，王凤在众人的劝说下决定求助与飞虎。飞虎不计前嫌，用尽办法让王凤伤心，练好招式。王凤又能否成功？
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.