美眉娱乐大联盟

*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.

韩国奥林匹克2连胜的主角-手球队最优秀的选手美淑（文素丽 饰），但是她奉献了全部力量的手球队却解散了，她放弃了如同生命全部的手球，为了谋生开始在一家大型超市内工作。曾经是日本著名职业手球队教练的慧京（金晶恩 饰）接替了处于危机的韩国手球国家代表队教练的位置尔重返韩国。为了增强球队的战斗力，她将自己的老同事兼竞争对手美淑以及过去一同经历奥运辉煌的老选手一一请回了球队。慧京刚开始为强化队员战斗力而进行了高强度的训练，但是她的这种训练方法造成了她和新队员们之间的不和，最终，老将们和新选手之间大打出手。对此协会委员长免除了慧京代理教练的职务，让世界知名的明星手球手安胜必（严泰雄 饰）来接替她的工作。尽管慧京的自尊心非常强，但是因为美淑的挽留，同时因为无法回到日本，所以她作为选手重新加入了手球队，为了荣誉而战。胜必决心把辉煌的选手生活抛在脑后，努力成为一名成功的教练。他坚实使用不照顾选手的科学计划以及欧洲式的训练方法，这激发了他与习惯韩国式手球的老将们之间的矛盾。最后由于和慧京的矛盾，美淑也离开了国家队...作为最优秀的队员的她们团结在一起，为了再次成为世界第一而踏上了前往雅典的征程。

香港高科技商业间谍组织ATM的Jackal（金城武）、Cash（陈小春）、Titan（王合喜）以及他们从未谋过面的秘密首脑Sam（杨采妮）同时受到香港警局情报室主任Stanley（方中信）的邀请，原来Stanley以四人过往犯案的证据及冻结四人账户作要挟，要他们为警方偷取英镑伪钞电模版。四人找来聋哑怪人也是电子高手Phoenix（李绮虹），五人合力取得电模版后，按约定地点和Stanley交易，却不料只等来炸弹一枚， Phoenix被当场炸死，原来要挟他们的Stanley早已辞职，此时他们已被香港警局情报室及政府通缉。为了洗脱罪名，四人决意找回Stanley。

影片为《东北警察故事》前传，讲述一名嫉恶如仇的刚正东北小警察李红旗（谢苗 饰）在一次相亲中，意外发现当地涉黄恶霸的存在，随着调查深入，一个以毒品控制及压迫女性的地头蛇恶霸团伙浮出水面，还公然挑衅警察，而且他不曾想到自己最好的兄弟也牵扯其中……面对一个个无辜受害的女性，一群禽兽不如的罪犯，李红旗决定死磕到底，势必铲除这颗“黄色毒瘤”。