就读于某重点中学的高一学生马墨（郭麒麟 饰）似乎并未继承自己中文系毕业的老爸的基因，他一天到晚浑浑噩噩，对女性尤其同班的何苗苗有着出乎常人的兴趣。终于在某个夜晚，马墨爬女寝外墙偷拍不慎坠楼，陷入昏迷。马墨的老爸马寅波（于和伟 饰）正是儿子学校的语文老师，他本就不满儿子的不上进，而“耍流氓未遂”的传言更令他恼羞成怒，于是这位三十多年笔耕不辍却郁郁不得志的男人，代笔为马墨写了一封文采飞扬的遗书。一石激起千层浪，遗书的深邃和思考让校长、同学乃至全社会都重新认识了马墨，他们趋之若鹜，几近疯狂。而马寅波也干脆将错就错，以儿子的名义将自己被退回来的稿件结集出版。一切看似顺理成章，直到马墨突然苏醒……

*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.

某天，大雄（大原惠美 配音）偶然发现了童年时奶奶为自己缝制的玩偶熊，于是央求哆啦A梦（水田山葵 配音）去往过去看望已不再人世的奶奶（宫本信子 配音），大雄与奶奶重逢之后，奶奶希望能看到大雄长大结婚时的样子，答应奶奶的大雄与哆啦A梦则再一次的返回了未来，婚礼如期举行的那天，所有人都到了场，但最重要的新郎成年大雄（妻夫木聪 配音）居然不在现场，情急之下，哆啦A梦让大雄假扮成年时的自己与静香结婚（嘉数由美 配音），然而真正的成年大雄究竟去了哪里呢？

随原作漫画第7卷限定版捆绑发售。