穿越电影

*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.

上古世界，人妖共存，三界之中开有一间医馆，只医妖不救人。传闻医馆两人一兽，掌柜医师红 娘风情万种，助手叁池娘炮一枚，杂役多肉（蛤蟆精）人面妖身。 原本风平浪静的妖医馆，却因为一位不速之客书生金志坚的到来，陷入危机。书生怀孕，本是奇闻，奈何妖种竟是稀世魔丸。红娘本欲为其接生，取魔丸心头血方能破解自身命格缺陷，不想经过几日对魔丸的悉心照料，一人一兽产生情谊。红娘决意放走魔丸，却遭遇悬甲门围堵。原来一切都是掌门雄魁的计谋，他要用魔丸心头血培养嗜血菱花，以吸食妖族血脉为自身延寿，至此，红娘陷入绝境……

安东尼·麦凯、詹米·多南加盟科幻惊悚片[同步](Synchronic，暂译)。艾伦·穆尔黑德、贾斯汀·本森([无尽])执导，贾斯汀·本森操刀剧本。麦凯、多南在片中饰演新奥尔良两名医护人员，一种离奇药物的出现导致了一系列恐怖死亡事件，两人的生活也被彻底打乱。XYZ Films负责该片国际发行。

根据韩战期间真实战事改编。1950年6月25日，北韩挥军越过三八线突袭南韩，三日攻陷汉城（今首尔），战线不断南进。在美军及联合国军支援下，南韩军逆势反击。美军指挥官麦克亚瑟提出代号为「铁铬行动」的仁川登陆计划，该计划急需一支大队的兵力从侧翼阻击扰敌、声东击西，通过长沙里切断北韩军的补给线。由于任务本身极其艰钜，加上南韩国军当时兵力薄弱，无法抽调足够正规军支援，军方不得不把这项任务交付给772名学生兵执行，这些学生兵平均年龄只有17岁，仅仅接受了两星期的军事训练，在毫无实战经验的情况下投身战场。行军路上固然杀机重重，战友内部也诸多衝突，年少气盛，迸发出各种角力。仁川登陆战前夕，长沙里登陆任务如期执行，这群徒有一腔热血但战力薄弱的学生们，无可避免地接受命运中最残酷的考验：穿越炮火与海浪，浴血长滩，馀下部队身陷敌军重重围剿，直至弹尽粮绝，挣扎于阵亡与倖存的分界线上…Based on the incredible true story of Jangsari Landing Operation. When North Korea invades South Korea on June 25, 1950, they pushed South Korea and its ally US Army to the southernmost city. U.S. General MacArthur planned Operation Chromite, which would see the joint allied forces to take back a strategic location of Inchon and in order for it to succeed, he needed a small battalion to flank the North Korean army and eliminate their supply line at Jangsari beach.Having lost his family on his retreat away from North Korea before the War, a model student Choi Sung-pil enlists in the army to fight for the South. Ki Ha-ryun is a rebellious youth from the South who volunteers to fight in the war. All of the 772 students and youths are like them who are barely out of school with only 2 weeks of boot camp training. Task force commander Captain Lee Myung-jun knows that it’s a long shot, but he has no choice but to lead them into a crucial mission. Meanwhile, US war correspondent Maggie braves the dangers of the battlefield to report on the war in the frontlines. She feels empathy for the Korean students who must go into battle on behalf of the veteran soldiers for their country, and tries to do what she can on her end to rescue them.With little ammo, scant food supplies and raggedy weapons, can the students successfully carry out their mission and return home safely?