一起又看流星雨第十五集

电影讲述大赵王朝四十年，西方蛮族兽主降世风云再起，镇魔司小队平异象行天命，勇征西域诛杀妖邪的故事，展现了镇魔司小队为保卫家国视死如归、荡气回肠的热血成长历程。

*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.

An elaborate Hollywood retelling of the Bible stories narrated by the film's director John Huston. We open with the Creation of the World and arrive at the Garden of Eden with Adam and Eve (Michael Parks and Ulla Bergryd) and continue on to Cain (Richard Harris) and the murder of Abel (Franco Nero). Next, we visit Noah (John Huston) and his ark with its spectacular flood sequence. Then we come to the story of Nimrod, King of Babel (Stephen Boyd), the emergence of man's vanity and the heights to which it could aspire if unchecked. Finally we cover Abraham (George C. Scott), a mystic who spoke personally with God, a leader of men, a builder of nations, a pioneer and a warrior and Sarah (Ava Gardner). At the time she conceived her first child, the event being forecast by an Angel of the Lord. Three such Heavenly Messengers (all portrayed by Peter O'Toole) appeared in the course of events which befell Abraham and Sarah.

TOKYO MX重播的TV动画《命运石之门》（2015年）12月3日凌晨播出的第23话中改变情节，进入β世界线，凶真最终没能救活红莉栖，剧情进入了《命运石之门0》篇章。片尾彩蛋有《0》的主要角色、使用红莉栖头像的人工智能“阿玛迪斯”登场。新旧两版23集并非平行故事。新版是发生在旧版前夕的故事。 而《命运石之门0》和广播剧《无限远点的弧光灯β》是串连起这两集的关键作品。新版23集是《命运石之门0》的序曲，而《0》的结局是凶真给过去（2010年）的自己发短信、劝说当时的自己再次拯救红莉栖（这段内容在旧23集中也有提到），这才有了第24集第二次营救红莉栖的行动。《无限远点的弧光灯β》则解释了为什么在新23集中真由理阻止铃羽抽凶真一巴掌，却在旧23集中亲自抽了凶真。