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*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.

白雪皑皑的郊外小屋，端坐餐桌前的汤姆围好餐巾，准备好好享用碟子中央的小老鼠杰瑞。关键时刻，杰瑞逃跑，伪装成整点报时的小鸟。汤姆识破对手的诡计，可还没等把老鼠吃到嘴里，就被炸弹狠狠炸了一下。镜头一转，舞台来到了房间外。杰瑞和汤姆一前一后踩着滑雪板展开飞速的追逐战。小老鼠计上心头，躲进了急救站中，躺在救援狗的身旁。汤姆不敢贸然进入，于是伪装成遇难者发出呼救声，骗出了傻乎乎的救援狗。可谁知又遭到杰瑞的暗算，变成了飞上天空的大雪球，还被摔成碎片。在喝过救援狗提供的酒之后，汤姆总算恢复了体力，可是他此刻也酒劲上头，醉醺醺地继续追逐杰瑞，结果只能闹出更多笑话……

俞慕槐（邓光荣 饰）是一名记者。某日，他在一艘邮轮上遇见了名为海鸥（甄珍 饰）的女子，海鸥因为误杀了背叛自己的丈夫而准备投海自杀，所幸俞慕槐的出现挽救了她的性命。之后，在新加坡灯红酒绿的夜总会之中，俞慕槐结识了歌女叶馨（甄珍 饰），让俞慕槐不敢相信自己的眼睛的是，叶馨竟然和海鸥有着一模一样的容貌。羽裳（甄珍 饰）是俞慕槐妹妹的同学，衔着金汤匙出生的她个性骄纵而又任性，而她的长相，和之前的海鸥、叶馨也分毫不差，她们三个分明就是同一个人所扮，这一切究竟是为了什么呢？俞慕槐和羽裳之间开始了一段恋情，这段恋情随着羽裳迷离不定的身份而波折重重。

The Bugs Bunny/Road Runner Movie is basically a collection of Warner Bros. short cartoon features, "starring" the likes of Daffy Duck, Porky Pig and Wile.E.Coyote. These animations are interspersed by Bugs Bunny reminiscing on past events and providing links between the individual animations which are otherwise unconnected. The Road Runner feature at the end consists of sketches from various RR separates (well it does in the 78-minute version anyway).