被猛男房东CAO到哭H

香港開埠以來，一直有殭屍出沒。城市隱藏著一個捉殭屍的秘密組織— 食環署特別行動組，簡稱VCD。半夜掃街的清道夫其實是殭屍獵人，巨大的垃圾桶裡藏著剛收伏的殭屍，旁人避而遠之的垃圾房…正正就是他們秘密基地！善心宅男張春天（蔡瀚億飾）偶然被VCD打救，組織領頭（吳耀漢飾）發現他的血能抗屍毒，認定其潛力無限，要武功高強的打手葉之秋（錢小豪飾）、技術支援組老姜（袁祥仁飾）與大舊駒（羅莽飾）向他傳授畢生所學，繼承組織使命﹗一次組織行動，張春天不忍傷害漂亮女殭屍小夏（林明禎飾），違反命令與她共住一室，引來百年老殭屍王的致命攻撃……

*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.

已于5月末杀青赵东赫和韩恩贞将在片中饰演一对再婚的夫妇，而孔艺智饰演韩恩贞和前夫的女儿，却和继父陷入不伦之恋。韩恩贞饰演的是大学讲师“许子英”一角，拥有知性魅力，将展现细腻深刻的内心演技。赵东赫将一改以往温柔绅士的形象，展现破格魅力。孔艺智饰演的是“许子英”的女二“郑友珍”，也将有和以往形象180度反转的演技。

年轻貌美的奈美子跟拈花野草的丈夫离婚后，改嫁富有的花甲老翁庆太郎然而她一直心系前夫的幼弟江村。二人定期幽会，但奸情却接二连三被撞破。修读人类学的江村迎娶了大学教授的女儿，一心想当上副教授。为了自己辛苦建立的名声和前途，江村决心与奈美子一刀两断。他想到要把痴缠的奈美子推下悬崖……本片改编自著名作家松本清张作品，有着极出色的刻划，比美《砂之器》。