关之琳 任达华

吴大福与老虎仔兄弟情深，老虎仔因意外入院，昏迷不醒。大福即往泰国向灵神祈求，甘愿以自己所有折半换回老虎仔一命。老虎仔果然康复。兄弟分别追求两位漂亮女护士。但大福发觉自己的东西开始减半，急忙找术士卜问避祸……

*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.

The goriest and sickest scenes from the Guinea pig movies all in one movie.-------------------------------IMDB User Comments:The best of Guinea Pig, 30 October 2001Author: Lord of All Fevers & Plague from The NetherlandsThe Slaughter Special is nothing more than the best Of Guinea Pig. It includes scenes from some Guinea Pig volumes like Guinea Pig 1 and Guinea Pig 2 :Flower Of Flesh And Blood. If you're new to Guinea Pig, this might be a good introduction to the series...if you're not, it's probably not worth watching.

检察官久力生公平（木村拓哉 饰）六年后回到东京地方监察厅城西部，继续由事务官雨宫舞（松隆子 饰）担任助手。六年时间并没有隔断他们的感情，在斗嘴中舞试探着久利生的心意，久利生感觉到却故意调皮地置之不理。芝山检察官（阿部宽 饰）正对一桩故意伤害人的案件提起起诉，犯罪嫌疑人对罪状也供认不讳。芝山由于正在为自己争取女儿抚养权的官司弄得焦头烂额，这件官司只得转交久利生处理。久利生和舞去了案发现场重演经过时遇见了一个神情庄重的中年人。在初审法庭上发现他竟是犯罪嫌疑人的辩护律师——在业界首屈一指的蒲生一臣，而犯罪嫌疑人也一改之前的口供，否认罪状。原来花岗练三郎议员正在被控贿赂，而他坚称当时正在牙医诊所，目击证人正是一名保安，这名保安就是久利生的犯罪嫌疑人。为了帮花岗脱罪，所以这名犯罪嫌疑人必须身在牙医诊所而不是案发现场。对于高官来说，让花岗入罪是为民除害。但是对于久利生来说，没有什么比杀人之后逃窜更恶劣。尽管艰难重重，他们还是坚定地踏上了寻找证据控告入罪之路。