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Netflix 电视内容《续命之徒：绝命毒师电影》回归，主角杰西·平克曼（艾美奖得主亚伦·保尔饰演）再次与粉丝见面。杰西戏剧性地逃出囚禁后，他必须接受自己的过去，才有可能创造未来。这部扣人心弦的惊悚片由《绝命毒师》的创剧人文斯·吉里根编写和执导。该电影由马克·约翰逊、梅利莎·伯恩斯坦、查尔斯·纽沃斯、黛安娜·默瑟和亚伦·保尔以及 Sony Pictures Television 联合制作。

阳光明媚的一天，大狗史派克正兴致勃勃地建造属于自己的狗窝，他手执图纸，满心欢喜地畅想狗窝建造好的样子，当然还要在门口挂上“甜蜜小家（Home, Sweet Home）”的牌子。不过，两个不速之客扰乱了他的计划。一阵锅碗瓢盆交响曲过后，小老鼠杰瑞和老猫汤姆先后跑出房子。汤姆追得兴起，抄起狗窝上的一块木板追赶，这可惹恼了史派克。史派克抓住汤姆，警告他们不许破坏自己的盖屋计划。强敌在前，汤姆当然满口答应。可是刚刚摆脱了史派克的狗掌，他又跟杰瑞展开了不顾一切的追逐。只可怜史派克，辛辛苦苦搭建狗窝，却总是遭到无情的破坏……

舞台是大正日本。卖木炭的心地善良的少年炭治郎的日常生活因家人被魔鬼杀害而彻底改变。为了帮助唯一幸存下来的却变成凶恶鬼的妹妹隅豆子恢复如初，炭治郎踏上了为讨伐杀害家人的鬼的旅途……

*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.