高中生被带到军营里NP

*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.

人间喜剧》援引了二十四孝中的四则故事，和四则当代情境作为对比；但将原本父母、子女的关系，转换为更复杂的现代人际关系：同居情侣、离婚夫妇、导演与演员、偶像与崇拜者、商人与顾客、老板与员工、本地人与移民…；亲情、爱情、友情这些亘古不变的题材，在新时代里受到前所未有的考验、精采的故事应运而生。【评论】本片由四则故事交互穿插而成，游走于各种不同的喜剧调性之间，在主题上紧扣，在情节上丝连，呈现世纪末社会处境中「家」的松散与转型、重建，探测人际情感变化的种种微妙地带。【导演简介】台湾知名诗人、剧场及电影编导。本名阎鸿亚，1964年生于台湾。国立艺术学院戏剧系毕业。曾任《表演艺术杂志》、《现代诗》主编，现为密猎者剧团策划、导演，快活羊电影工作室负责人。曾担任杨德昌导演《牯岭街少年杀人事件》及《独立时代》之合作编剧，并以《牯》片获金马奖最佳原著剧本，又以《人间喜剧》获新闻局优良剧本奖。

静静的宇宙，一艘名叫“贝蒂”的太空船正在飞向“御夫座”星球。船上躺着数十个被麻醉冻僵了的地球人，他们全然不知即将到来的灾难。原来，丧尽天良的军方和商人将这些人诱拐过来，要送到“御夫座”上孵化异形女皇两百年前生下的蛋。雷普莉（西格妮?韦弗 Sigourney Weaver 饰）已成为了异形女皇生下的转世为人的异形人。她的基因里带上了异形的基因，变得特别强壮、忽明忽暗，成了“双面人”。“贝蒂”上有个叫考尔（维诺娜?赖德 Winona Ryder 饰）的年轻女人，正在设法破坏孵化异形蛋计划。当“贝蒂”来到“御夫座”，意想不到的情形发生了！

在IPSC实战射击赛中，警员庄子维（吴彦祖 饰）打破了赛会纪录，但新纪录很快被香港基金经理关友博（古天乐 饰）改写，后者夺魁。赛后，关友博巧遇蒙面歹徒打劫解款车，解款员被歹徒打死。此时，一个交通警（连凯 饰）路过，被歹徒打伤。为救人，关友博击毙了4名劫匪，并报警。另一歹徒落荒而逃，同时4亿美元债券遭抢。交警获救，护理他的是关有博的女友（蔡卓妍 饰）。因非法持枪伤人，关友博被拘。庄子维审问时发现对方超常冷静。面对检方控诉，关友博沉着应对，结果当庭获释。女上司（李冰冰 饰）接他回家，但他对她的殷勤并不领情。关友博的账户存在资金周转问题，他正想方设法拖延还款时间。庄子维在查案中毫无头绪，于是请教老枪王（方中信 饰），从对话中，他似乎嗅到了关键性的线索……