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万金游（郭晋安 饰）是“雀爷”万叔（夏雨 饰）的独生子，麻雀技艺深得父亲真传，是承继父亲的赌业的好人选。一筒（元秋 饰）是万金游的干妈，一直把金游当成自己的亲儿子，疼爱有加。可是在在雀爷大寿的当晚，从拉斯维加斯回来的雀爷也带上了他的新任妻子二索（刘琸琪 饰）。金游跟一筒都觉得二索图谋不轨，原来她联手雀爷的死对头爆棚要霸占雀爷的一切产业。故意让金游认识倒霉透顶的吴靓（杨思琦 饰），使金游的牌运急速下跌，每次打牌拿的都是烂牌。幸好金游学会了乐观处事，运气刚要回来的时候，女友却被爆棚挟持……

阿狗（刘青云饰）是三十多岁的黑社会马仔，他处于艰难的抉择中，要么继续浑浑噩噩的在黑道上混下去，要么轰轰烈烈的大干一场。于是发生了两个截然不同的故事结局。他跟随黑帮偷运货车，但由于乌合之众组织不善，阿狗也在他乡不幸命丧黄泉。第二个故事，有着大团圆的结局：阿狗因为英雄神武，为人果断机警，行动屡屡成功，被阿猫看中，邀他一同去台湾当杀手，在台湾威霸一方，阿狗的“大志”得以实现。

*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.

昨年の「ゴジラ・フェス オンライン2020」で発表され、大好評だった新規特撮『ゴジラ ゴジラ・フェスに現る』の第2弾。中川和博監督が手掛ける「ゴジラ・フェス 2021」の完全新作の特撮タイトルは『ゴジラVSヘドラ』！！また、オープニング、エンディングの映像を、8月に行われた東京オリンピック閉会式をはじめ、国内外のフェスティバルなどで活躍する画家の中山晃子氏が担当。『ゴジラ対ヘドラ』の世界観を再解釈し、まるで生きているかのような流動映像が『ゴジラVSヘドラ』を彩ります。1971年に公開された『ゴジラ対ヘドラ』から50年となる節目の年に、公害怪獣ヘドラと怪獣王ゴジラが工業地帯を舞台にド迫力のバトル！ゴジラが勝つか！ヘドラが勝つか！世紀のタイトルマッチを目撃せよ！