游本昌济公传

改编自漫画家中村光的同名新作，原著根据传说中红色圣诞老人给好孩子送想要的礼物，黑色圣诞老人给坏孩子送不想要的礼物改编，讲述废柴男在黑色圣诞老人公司的奇妙故事。吉泽亮饰演考试失败、就业失败、没有女朋友但是在圣诞世界却十分活跃的主人公日野三春。桥本环奈在片中饰演日野三春的同事北条志乃，仲春大志饰演日野三春在便利店打工时的死对头同事田中皇帝，渡边圭祐饰演沉默寡言总冷着脸其实很关心日野三春的同事古平铁平。

大志（王泉 饰）是一个流落在天地之间孑然一身的小小报童，身为疯狂球迷的他是足球明星林天海（吴大维 饰）的超级粉丝。一次意外中，大志昏倒被送进了医院，经过医生的诊断，大志患上了白血病。大志对自己的身世绝口不提，只是告诉医护人员，自己是林天海的儿子。得知了整个事件的来龙去脉，林天海深深地被大志的执着和善良感动了，自告奋勇的承担起了大志“父亲”的角色。一次比赛之中，林天海丢球导致球队打败，一蹶不振的他沉浸在沮丧的情绪之中，甚至想到了放弃。得知林天海萌生退意，大志十分愤怒，他的一席话让林天海重新振作了起来。

洛基在美國唸書，趁著放暑假回台北，和他闊別多年的玩伴小辣椒、土蛋、二齒、孫小毛、小蓋仙、小胖敘舊。某日，七小福在西餐廳用餐時，小辣椒發現有人在餐廳拔槍，告知朋友卻無人相信。隔日，一群人在逛街時，遇見一人身受重傷，臨死之際交付一顆鑽石給小辣椒，請求比務必交給一位名叫江海倫的女子手中。但是，七小福和江海倫素未謀面，維有用盡各種方法尋找胸前戴花，大腿上有顆痣的女人。而且，價值連城的鑽石在七小福身上，引起黑幫老大朱溫的注意，遂派出幫眾前往攔截。此時，讓七小福捲進一場驚天動地的危機之中……

*Shinjuku Mad* was one ofKoji Wakamatsu's six films from 1970. Grim and gritty, stark and steady, burdened with anti-moralizing, generously padded with sex, and totally redeemed by a soundtrack that needs to be released NOW. I knew nothing about this film, loading it up on to my laptop, and every last one of this film's sixty-sixty minutes kept me riveted.Bear with me. The film opens with the band cycling through a jazzy rave-up, the black and images depict dead Japanese throughout a modern city. From the alleyways of the slums, to center of the park, you catch glimpses of bodies everywhere. This introduction is capped off by a lingering shot of a blood-soaked naked woman, face down. By this point, the band has reached a sort of peak. There's a cut, the band changes the direction of the song a bit, and then we're treated to a series of exterior shots from downtown, the lunch hour, maybe. You see a lot of storefronts and stairwells, people moving about. All of the people in these splices are done in negative image.What follows can only be described as harrowing. After the credits, the reel switches to color. We're treated to the on-screen stabbing of a young man in a toga, his attackers strip his special lady-friend of her toga, spend about two minutes smearing her breasts with still-warm blood, and then take turns raping her. She doesn't seem to put up much of a fight. The scene is lensed with all of the enthusiasm of a television spot for a whole foods market.Well, that's a fucked up way to start a movie. If you're still reading, I'll have you know the brutality eases up a little, but the camera's tendency to seek out each scene's more lurid details is relentless. The band never lets up, either. Another constant feature of the film is the protagonist's alienation from society. That's a pretty dated-concept, in a way. This film is cashing in on what could loosely be called the Existential demographic in 1970's Japan. Parts of it could have been written by Oe. Others by Mishima. It definitely, at times, addresses a bit of that lingering air of revolution, but more on that later.The father of the kid stabbed in Technicolor shows up in the nest reel, in the same apartment his son was murdered in. This confused, grieving father asks a totally baked Shoko Asahara for information about the events leading up to his son's death. The long-haired no-goodnik is toking on a Sharpie-sized doobie. He gets so fucking high he passes out and the dad is left there in the empty apartment, getting a major contact-buzz.So, the plot is basically that kind of exchange in larger and larger settings, intercut with glorious shots of the disillusioned father walking through industrial slums. The father, searching for the "Why" to his son's death goes on his quest and pisses just about everyone he comes into contact with off. He goes into subway stations and totally kills some beatniks' buzzes. Then he bullies a Hare Krishna ROCK AND ROLL SUPERSTAR and his belly-dancing percussionist at a park. Then he heads off to a bar, and we're treated to what must have been Tokyo's Greatest Garage Band getting low-down and sleazy here. This scene pretty much sums up what the film is about. As you dig the scuzz and the fuzz, the camera catches all manner of degeneracy and wanton reefer-use. And the bar has no less than three groups of people making out. And they get excessive with the groping.Eventually, the father catches the ringleader of the vicious band of murderer-rapists. "Shinjuku Mad," is his name. After an unbelievably long and convoluted exchange between the protagonist and Shinjuku Mad, it comes out that Mad and the boys are rebelling against all of Japan. It's open season on everyone but them. His son was only a casualty, nothing personal. Their intent is to go on rebelling against society through random acts of violence against people and property.After going through all the trouble of finding Shinjuku Mad, the old man's mind is blown by revolution for revolution's sake. After a few pummellings, he manages to turn the fight around. He winds up leaving with a nude girl that had been tied to a post for the entire scene.He goes back to the apartment his son was murdered in to find his special lady-friend naked with six other dope-smoking cats grooving on free love and blue balls.He decides he's happier with Shinjuku Mad alive and kicking, the band is at another one of its high points, and the camera pans out to the railroad yard, telephones wires, and the bare sides of modern buildings.That was Japan, thirty-seven years ago.