人约黄昏

彭浩翔用试图他的“破事儿”去解释现代人生活中的困惑或出路。功德心Jason（陈冠希 饰）在酒吧向美女Shirley（郑融 饰）搭讪时说，他其实很有公德心。因为每次小便时他都会用小便顺便将厕所内的粪便残迹冲走，实在帮了清洁工人一个大忙。做节阿富（陈奕迅 饰）和慧英（陈逸宁 饰）相识一个月后开始同居，令阿富万万没想到的是慧英竟然不赞同婚前性行为。这让每晚和慧英睡在一起的阿富备受煎熬。终于，在一个圣诞节，他和慧英用另一种方式解决了问题。增值阿泽（杜汶泽 饰）经常在明哥的介绍下到酒店去嫖娼，至于明哥是谁，他见都没见过。一次，阿泽经明哥介绍去酒店和一名上海来的女孩（张铮 饰）开房，完事后，那女孩请阿泽帮她充值电话卡，只因她听不懂粤语。随后，阿泽来到了女孩常去的宾馆对面的面店吃面，他忽然记挂起那一位来港谋生的上海女孩。尊尼达黄生（金培达 饰）是杀手集团的VIP，一次，杀手集团送给了他一张礼券，凭券可免费杀一人，不过免费杀的那个人他们会派杀手学员去杀，以达到实践目的。乐仔（余文乐 饰）就是其中一名学员，他被派去谋杀保龄球场经理。关键时刻，乐仔的收工时间到了。大头阿慧学生阿琪（邓丽欣 饰）和大头阿慧（钟欣桐 饰）是好朋友。车房修理工飞鹰（麦浚龙 饰）追求阿慧，阿慧问阿琪意见，阿琪随口就说好，因为她想阿慧拍拖后不会再经常烦她。阿慧就真的拍拖了。随后，阿慧有了飞鹰的孩子，本想向阿琪借钱打掉，阿琪因为要存钱和男友去旅游，就叫阿慧和飞鹰结婚吧。阿慧就真的结婚了。随后阿琪也有了孩子，她的男友不顾而去，剩低阿琪一人做未婚妈妈。而飞鹰和阿慧结婚后，事业青云直上。阿慧成了最幸福的女人。德雅星杂志社员工的阿池（关智斌 饰）为了讨女友德雅欢心，向杂志社编辑（谭耀文 饰）说谎，把一颗星体的命名权送给了她，自此这颗星正式命名为德雅星。后来移民到德雅星上的居民，为了这个命名，总带著一份宗教性质的原罪感。彷佛这个星球的名字，跟他们的生活空间一样，是透过欺骗而得来的。不可抗力陈教授（陈辉虹 饰）和太太（田蕊妮 饰）一直过着幸福的生活。最近二人因生活琐事而发生争吵，关系变差。於是他们决定去看心理医生（林海峰 饰），解开夫妻关系中的困惑。最后二人发现，即使朝夕相对，彼此间却暗藏着一条很深的鸿沟。

*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.

Spiraling out after a bad breakup, Wes ends up at a remote rest stop miles away from civilization. His situation worsens after he finds himself locked inside the bathroom with a mysterious figure speaking to him from an adjacent stall. As Wes tries to escape, he realizes he is an unwilling player in a situation bigger and more terrible than he could possibly imagine.

又是一个晴朗的日子，忠实性感的女仆照例在服侍男主人和他家的小女儿，这时突然敲门声大作，一个女人血淋淋地跑了进来，大喊着“他们来了他们来了！”，继而将五脏六腑倾吐而出后暴毙。就在屋内的人还未搞清楚状况之时，已毙的女人忽然变成丧尸袭击了男主人，与此同时，门外的众多丧尸一起涌入房间，温馨的家瞬间变成屠宰场。男主人抱着小女儿走投无路，勇敢的女仆在柜子里找到了一把电锯，与丧尸们展开了血腥搏斗……