林夕为什么被大陆禁

许记烧鸭是香港街头尽人皆知的风味美食，虽然店铺寒酸，装潢陈旧，但是凭借老板老许（许冠文 饰）那一手出色的烧鸭技巧，依然引得众多食客前来大快朵颐。店内生意兴隆，但老许对待下面的员工却甚为苛刻。无休止的加班、可怜的薪水，员工们怨声载道，反被老许巧言令色蒙骗过去。不过就在某一天，许记烧鸭的灾难来了。对门的店铺开了一家西式炸鸡店，老板丹尼（吴启华 饰）以先进的理念推广他的西式快餐，很快便将老许的客人抢了去。危机当头，老许想出各种办法应对，而丹尼也意欲将烧鸭店置于死地……本片荣获1989年美国拉斯维加斯国际喜剧最佳男主角奖大奖。

本片根据亚洲恐怖漫画《阴阳棺》改编，讲述了民国年间被世人俗称为的“阴阳棺”突然现世，相传这口神秘的棺材一旦出现就会有恐怖的事情发生。据《民国时报》记载，民国34年（1945国民党统治时期），曾发生一起灵异的小孩失踪事件，一群在后山上玩捉迷藏的小孩突然有一个神秘失踪。从那以后，每当打雷时总会看到一个小孩的身影在后山破庙的屋顶上徘徊，离奇的事情接连发生..究竟是消失的小孩“怨灵”回来复仇，还是传说中的“阴阳棺”在作怪？

*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.

TVアニメ放送開始15周年記念作品 蒼のカーテンコール 第2章 開幕『ARIA The CREPUSCOLO』2021年3月5日（金）公開！公式ホームページ：公式Twitter：@ARIA_SENDEN©2020 天野こずえ／マッグガーデン・ARIAカンパニー＜ イントロダクション＞未来形ヒーリングストーリー　蒼のカーテンコール 《第2章》開幕現在、WEBマンガサイト「MAGCOMI(マグコミ)」にて『あまんちゅ！』を絶賛連載中の天野こずえが描いた未来形ヒーリングコミック『ARIA』。単行本累計460万部、関連書籍累計80万部が発行された本作は、2005年に『ARIA The ANIMATION』としてアニメ化。その後も、2006年に『The NATURAL』、2007年に『The OVA ～ARIETTA～』、2008年に『The ORIGINATION』、2015年に完全新作アニメーション『ARIA The AVVENIRE』が制作され、原作コミックの雰囲気そのままの優しい世界が数多くのファンを魅了しました。そして、『ARIA The ANIMATION』放送から15年目を迎える2020年。このメモリアルイヤーに、再び『ARIA』が映画として帰ってきました。オレンジぷらねっとのメンバーを中心に描かれる、完全新作アニメーション映画『ARIA The CREPUSCOLO』。制作に当たっては、天野こずえの完全新作描き下ろし原作漫画を元に、総監督・脚本：佐藤順一、監督：名取孝浩、アニメーション制作： J.C. STAFF（「あまんちゅ！」）が制作致します。キャストもおなじみのメンバーに、アテナ役として佐藤利奈が新たに加わりました。新しい、そして変わらない『ARIA』の世界を是非、劇場でご覧ください。＜あらすじ＞ネオ・ヴェネツィアの街が、落ち葉の絨毯で彩られる秋。オレンジぷらねっとで修業の日々を送るアーニャには、気がかりなことがありました。お互いに多忙なこともあり、長い間会えていない先輩のアリスとアテナ。そのせいで元気がないアテナに対し、アリスはなぜか会うのを避けている様子なのです。友達のアイとあずさにも協力してもらい、先輩たちが絶対に会える方法を探す中、アーニャは今の自分だからこそ見える“景色”があることに気づかされるのでした......。【STAFF】原作：天野こずえ「ARIA」（ブレイドコミックス／マッグガーデン刊）総監督・脚本：佐藤順一監督：名取孝浩キャラクターデザイン・総作画監督：伊東葉子美術監督：氣賀澤佐知子（スタジオユニ）色彩設計：木村美保撮影監督：間中秀典音楽：Choro Club feat. SenooOPテーマ：「フェリチータ」安野希世乃EDテーマ：「echoes」安野希世乃音楽制作：フライングドッグ音響制作：楽音舎アニメーション制作：J.C.STAFF製作：松竹配給：松竹ODS事業室【CAST】アリス・キャロル：広橋涼アテナ・グローリィ：佐藤利奈アーニャ・ドストエフスカヤ：茅野愛衣まぁ：渡辺明乃水無灯里：葉月絵理乃アリシア・フローレンス：大原さやか愛野アイ：水橋かおりアリア：西村ちなみ藍華・S・グランチェスタ：斎藤千和晃・E・フェラーリ：皆川純子あずさ・B・マクラーレン：中原麻衣アレッタ・パーチェ：安野希世乃