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Plot details for the film are under wraps, though it’s said by writer-producer Steven Paul to involve “a new twist on the saving of the President theme.”

*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.

阿龙（古天乐 饰）和阿虎（谢天华 饰）是情同手足的两兄弟，孤苦无依的两人在蓝田旧屋村艰难生活。阿仪（黎姿 饰）是阿虎的女友，不幸遭到贪婪的地头蛇四眼（雷宇扬 饰）的玷污，愤怒之下，阿龙和阿虎出手将四眼砍成重伤，两人因此不得不离开故乡，踏上了逃亡的旅途。一行人来到了钵兰街谋生，在此地结识了老大寸王（徐锦江 饰）。寸王十分赏识两兄弟，让他们加入了黑帮为自己卖命，尽管阿龙和阿虎在道上混的风生水起，但阿仪和阿虎之间的感情亦因此而产生了裂痕。阿仪离开了阿虎，和大恶霸禽兽（林国斌 饰）走到了一起。禽兽十分爱慕阿仪，为了她，他宁愿与邪恶的狂人辉（徐忠信 饰）为敌。

这个故事设定在90年代的现实，故事里的主要剧情取自我自己的童年经历。在计划生育的时代背景下， 我和两个姐姐的出生给家里带来了很大的困难。我的父亲是艺术相关的从业者，但迫于生计，只得回到老家务农。母亲是传统的农村女性，温柔顾家，但也存在着没有知识的局限。在家庭和时代的环境下，我的朋友小明，也就是故事里的另外一个主角出现了。他的原型是取自童年的一个真实人物。在我的童年时代，我时常因为无所事事把一块吸铁石绑在裤子的后面，整天拉着它出门。吸铁石能吸到很多公路上的铁钉，螺丝和啤酒盖，这让我很开心。小明和我一样无所事事，我们俩经常结伴去玩洞洞奖，我以为这样的日子会一直持续下去，但伴随着一场大雨过后，小明意外的去世了，我的童年也就结束在了那里。