全职猎人104

位于美国西部一座雪山脚下的小村庄，宁静祥和的一天，房间内男主人正精心烹制美味的菜肴，谁知躲在老鼠洞里的牛仔杰瑞坐收渔利，用套索将美味套了过来。而懒惰的汤姆只对吃的感兴趣，根本无心追捕老鼠。见到这一场景，男主人当然非常生气，他警告汤姆马上抓住捣乱的杰瑞，否则根本别打算吃晚餐。主人甚至掏出手枪一通乱射，吓得汤姆连忙跑出房子。没有办法，为了美味佳肴，牛仔汤姆不得不奔赴战场，与他那狡猾聪明的老对手展开美食争夺战，谁才是最后的胜利者呢？

*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.

公元前六世纪，孔子（周润发 饰）受到鲁定公（姚鲁 饰）赏识，从中督宰晋升为大司寇，这让他得以实行自己的以礼治国的执政理念。但是，三桓独霸朝纲，也让孔子感受到了重重阻力。他因阻止季桓子（陈建斌 饰）家奴免受陪葬，而与之结怨。他随鲁定公赴齐国会盟，与齐景公（马精武 饰）和大夫黎鉏（王绘春 饰）斗智斗勇，维护了鲁国的利益，讨回三城，因此出任代国相。他提出隳三都的政策，引发佞臣谋反，在平叛之后，季桓子假传圣旨，罢黜了孔子。从此，孔子率颜回（任泉 饰）、子路等弟子开始游历各国。在卫国，孔子得到卫灵公的尊重，获俸粟6万石。他见到了卫灵公的夫人南子（周迅 饰），并在交谈中展现了正气凛然的君子风范……本片主题曲《幽兰操》为歌后王菲息声多年后复出之作。

据说基拉祈只有一千年才会醒来一次，吸收千年彗星的力量，反哺给大地，从而使得法恩斯成为欣欣向荣的圣地。但就在这次苏醒前夕，魔术师巴特勒与他的女友兼助手黛安，将包裹基拉祈的结晶发掘并从法恩斯带走。为了观看千年彗星出现的那一瞬间，小智一行人前往将举办千年彗星庆典的游乐场。当他们跑到指南上所描述的地点时，却失望地发现这里是一片荒凉的空地。由于天色已晚，他们便在这里吃晚饭，并决定在此露营过夜。深夜，当大家都在睡梦中时，一群车队从山的那头驶过来，惊醒了小智一行人。在游乐场的小市上，小遥买下了一款挂饰“圆梦之星”，据说，在可以看见千年彗星的七天之间，每天晚上都默念愿望，折入一个星星的角，等第七个夜晚结束的时候愿望必定会达成。小智和小胜意外成为了魔术师巴特勒的幸运观众（因为小胜听到了黛安手中结晶发出声音而跑向舞台）。巴特勒告知小胜是吉拉祈发出了声音，随后将结晶托付给了小胜。在远方一片森林深处，岩石发出了绿光，这些绿光聚集到小胜眼前的结晶。结晶的光芒愈加耀眼，它漂浮到空中，在白色的光辉中伸展出许多白色线条，同时慢慢变形。待白光褪去，结晶已经变成了基拉祈。希望基拉祈真的能实现愿望，小胜向基拉祈许愿，希望得到糖果，糖果随即出现——但事实上基拉祈仅仅使用了瞬间转移从小市搬来了糖果，并没有创造它们。巴特勒的野心随即揭晓：他本是岩浆团的成员，致力于复活超古代神奇宝贝固拉多。他研发出了完美的系统，但无法找到足够的能源支持；为此，他企图利用基拉祈吸收的能量来满足自己的目的。预见了潜在危险的阿勃梭鲁——其出现往往昭示着灾难——带领黛安和小智一行启程赶回法恩斯。在基拉祈回归沉睡的前一天，小胜为即将失去一位朋友而感到失落，所以小智讲述了自己的朋友之一——小霞的故事，并说即便二人再难见面，但二人的友谊长存。在一行人赶到之前，巴特勒追赶而至，夺走了基拉祈并尝试获取能量。巴特勒的计划实施后，一只假固拉多被创造出来，后者开始将法恩斯化为荒芜，杀死了身周的植物，并不断吸收所有活着的生物。当戴安被假固拉多吞没之时，巴特勒终于认识到二人的感情才是最重要的，在小智与小胜的帮助之下，巴特勒终止了进程，假固拉多融化并最终消逝。基拉祈重新吸收了创造出固拉多的能量，并陷入了千年沉睡。小遥因为过度兴奋，忘记了折入最后一个星星的角。尽管小遥从未表明自己的愿望，她坚信这愿望定会成真。