从镜子里看我怎么C你动图

凶残成性的“竖锯”（托宾?贝尔 饰）带着更新更诡异的杀人游戏回来了。又一位带着“竖锯”标签式的死亡特征的受害人被警方发现，这令探员艾里克?马休斯(当尼?沃伯格 饰)重新回到之前的惊悚噩梦之中。但出人意料的是杀人者留下了十分明显的线索，警方的调查取证工作十分顺利。其实，所有这一切都在“竖锯”(托宾?贝尔 饰)的掌控之中，留下线索并令自己被捕正是他进行下一个邪恶游戏中的重要前提：即将有8位相互陌生的人被迫加入游戏，而更疯狂的是，除此之外的另一位游戏者已经被锁定为马休斯。在“竖锯”的策划下，又一场充满惊险的生死游戏就要开始了……

几个好友结伴前往观看美国大学美式足球冠军赛，他们在前往比赛地时决定顺便在野外进行一次野营。于是，卡莉（伊丽莎?库斯伯特 Elisha Cuthbert 饰）、佩兹（帕丽斯?希尔顿 Paris Hilton 饰）等几个年轻人在了野外一处荒地扎了营。他们的恐怖经历就此展开。首先，一名神秘的司机和这群年轻人起了争执，令大家游玩的兴致全无；接着第二天他们起床后发现，他们的汽车被人动了手脚发动不了了。在一名当地人的指引下，他们只能徒步前往附近的偏僻小镇安布罗斯找人帮忙。安布罗斯由于太过偏远，以至地图上根本没有标出它的所在。一行人来到小镇，发现这里人迹罕至。好奇心下，他们走进了镇上的杜蒂蜡像馆，这里的蜡像做得栩栩如生。原来，这是一个杀人狂魔将镇上的人杀了用真人做到蜡像！此时那杀人狂魔正在暗处幽幽的盯着他们……

WGP中盤、ロイヤルフェスティバルカップの途中で突然謎のマシンガンブラスターXTOとその持ち主リオンが現れ、マシンを吹き飛ばしレースを滅茶苦茶にしてしまった。豪達ビクトリーズのメンバーはガンブラスターを追いかける。実はリオンはGPチップの開発が間に合わずWGPに参加が間に合わなかったレーサーであり、ガンブラスターはようやく完成したGPチップの所為で、怪電波を発しながら暴走を始めてしまった事が判明する。もしこのままガンブラスターが暴走を続けたら、怪電波の所為で都市の全機能を滅茶苦茶にしてしまうと判断した開発者のクスコ博士はガンブラスターを破壊する事を決定する。ビクトリーズとリオンは、ガンブラスターが破壊される前に暴走を止めるべく必死でガンブラスターを追いかける。豪たちはガンブラスターの暴走を止められるのだろうか。

*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.