幸福耙耳朵第六季

一次偶然中，希拉里（朱莉娅·罗伯茨 Julia Roberts 饰）得到了一份看护的工作，她所要看护的对象是一位名叫维克托（坎贝尔·斯科特 Campbell Scott 饰）的百万富翁。维克托患上了白血病，需要接受化疗，在希拉里的精心看护下，他的病情渐渐好转，两人之间亦产生了深厚的感情。一日，维克托突然将希拉里带到了位于海边的小镇上，两人在那里度过一段幸福而温馨的时光。好景不长，卷土重来的病痛让维克托陷入了痛苦中，而他为了隐瞒病情竟然开始偷偷注射吗啡止痛。希拉里发现了维克托的秘密，伤心的她恳求他继续接受治疗，没想到后者断然拒绝。难道病魔真的要将这对心心相印的情人残忍的分开吗？

加贝（西尔维斯特·史泰龙 Sylvester Stallone 饰）是一名高山抢险队队员，对于他来说，不断的征服一座又一座看似高不可攀的山巅就是人生的全部意义所在。然而，在一次行动中，由于加贝的疏忽导致了朋友意外坠山而亡，心中充满了愧疚与悔恨的他决心就此放弃攀登。一次偶然中，加贝接收到了一个神秘的求救信号，信号的发出地位于雪岭之巅，和朋友哈尔（迈克尔·鲁克 Michael Rooker 饰）、杰西（简宁·特纳 Janine Turner 饰）一起，加贝决心到那里一探究竟。让加贝没有想到的是，在雪岭等待着他的，竟然是一帮穷凶极恶的劫匪和一群手无寸铁的人质。比环境更险恶的，是人心，这一次，加贝能否逢凶化吉呢？

一名前冠军拳击手在去寻找失踪妹妹之时打响了她的生存之战。

*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.