拳皇电影

*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.

艾德金（克里斯·派恩 Chris Pine 饰）是一名吟游诗人，在一次盗宝行动中，他的贪婪导致了妻子的死亡。之后，野蛮人霍尔盖（米歇尔·罗德里格兹 Michelle Rodriguez 饰）出现在了颓废的艾德金身边，和他共同抚养女儿琪拉（克洛伊·科尔曼 Chloe Coleman 饰）。琪拉长大之后，艾德金、霍尔盖带着琪拉和她的舅舅福奇（休·格兰特 Hugh Grant 饰）等人组成了一支盗宝团队，哪知道在一次行动之中失手了，最终，艾德金和霍尔盖锒铛入狱。一晃眼多年过去，艾德金和霍尔盖联手越狱，并且决定夺回他们当年未得手的宝物，为了达成目的，他们还吸纳了菜鸟术士西蒙（贾斯蒂斯·史密斯 Justice Smith 饰）和德鲁伊女孩多立克（索菲娅·莉莉丝 Sophia Lillis 饰）。就在艾德金一行人离宝物越来越近之际，当年带着琪拉逃跑的福奇，他的真面目也渐渐的展露了出来。

十年前，人类为自己的愚蠢付出惨痛代价，凶险致命的猿流感病毒蔓延全球，世界毁灭殆尽。而在毗邻旧金山的原始丛林，凯撒（安迪·瑟金斯 Andy Serkis 饰）带领猩猩伙伴们建立起无忧无虑的王国，直到某一天，猩猩的家园的宁静再度被人类打破。在旧城苟延残喘的人类面临能源危机，他们试图利用森林腹地大坝的发电站提供能源。青年科学家马尔科姆（杰森·克拉科 Jason Clarke 饰）试图说服聚集地负责人德里弗斯（加里·奥德曼 Gary Oldman 饰），希望通过和平手段取得猩猩部落的信任和同意。然而凯撒的好盟友科巴（托比·凯贝尔 Toby Kebbell 饰）却无法摒除对人类的憎恨，他尝试着挑战者凯撒的权威。人类和猩猩，双方小心翼翼试探，而战争在所难免……

从高中走过来的恋人大谷晋也（德山秀典 饰）和立花都（斋藤康嘉 饰）成为了同一所学校的大学生。日子在平凡又甜蜜的每一天中度过，直到二人在校园邂逅了曾经的高中同学水泽雪子（松冈璃奈子 饰）。和立花要好的雪子让大谷开始感到不安，他害怕立花突然有一天就选择了可爱的女孩，而走出他的视线。这种名为嫉妒和猜测的心思让两人间的感情遭遇了考验和冲击。于茫茫人海中，认识彼此，大谷和立花从好兄弟变成恋人，中间经历了不少坎坷，二人冲破了不少障碍。而这次也将成为二人相伴路上的插曲，因为全世界的美丽都不敌恋人眼中的光和含着爱意的言灵。本片改编自漫画家绀野けい子的同名作品。