亚洲第一天堂网

1950年，全国绝大部分海疆、岛屿已解放。盘距在珊瑚岛上的渔霸七奶奶（张燕影 饰）做梦都盼着国军打回来。渔家女珊妹（晓军 饰）为救病重的父亲徐老大（王云 饰）被迫租身前往牛头岱，途中不甘受欺凌的珊妹跳海逃走，巧遇已当上解放军的未婚夫阿青（戴华薛饰），她立志参加革命队伍，并陪侦察参谋王永刚（周祖同 饰）重返珊瑚岛。上岛后，他们组织渔民积极开展反霸斗争，逼渔霸借粮，取消禁海令。麻副官（魏良炎 饰）与七奶奶密谋劫持岛上青壮年，王永刚抓获送信的孙富贵（刘瑞林 饰），让徐老大将情报送往大龙山找解放军，让其攻岛，以红灯为号。不料，关健时刻升灯的渔民被打伤，珊妹奋不顾身直奔红灯......

*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.

最近出现了一起凶徒连环杀人案，最令人恶心的是，凶徒每次作案后都将被害者的喉咙割走。FBI探员威尔（爱德华?诺顿 Edward Norton 饰）负责此案的侦察，经过详细调查，威尔分析此人每次都是将被害者的喉咙割走吃掉，然而却没有找到任何凶徒的蛛丝马迹。威尔向患有精神病的犯罪心理学家汉尼拔（安东尼?霍普金斯 Anthony Hopkins 饰）求助，希望汉尼拔能刻画出凶徒的犯罪心理以助破案。不料汉尼拔精神病发，意图伤害威尔，最后被关进了精神病监狱，此案也就不了了之。多年后，威尔又遇到了一起相同的谋杀案。虽确定了犯罪嫌疑人，但若想清楚推敲出此人的犯罪心理，以将其乘之于法，威尔只好再次找到了汉尼拔。

小职员欧米噶（葛民辉 饰）性格温和，时常被他人整蛊捉弄以致习以为常。欧米噶暗恋女护士Dkny（朱茵 饰），却苦于无法接近，欧米噶不巧撞破公司太子爷偷情，被其邀请来的整蛊之霸恶整，连工作也丢掉，只得投奔“超级整蛊霸王”荷兰叻（陈百祥 饰）门下，自此与师兄弟吴广德（雷颂德 饰）等人学习整蛊术。不久香港大亨哥先生之子哥伦布（雷宇扬 饰）为驱逐父亲在法国留下的私生女哥小小，邀请荷兰叻一众整蛊小小以便独吞遗产，岂料吴广德对小小情有独钟，加之哥先生私人护理即是Dkny，欧米噶等人无心整蛊，哥伦布大为光火，请出整蛊之霸清理残局，于是整蛊界的一场混战一触即发……