苹果158分未减除版

因为年幼时失去家人的经历，让南顺（权相宇 饰）失去了感知疼痛的能力，在他的世界里，所有肉体上的疼痛都感知不到。看似很好的缺陷却给南顺带来了许多消极影响，慢慢的，似乎连心也麻木了。就在这时，他的生命中出现一个叫做朱冬绚（郑丽媛 饰）的女孩。与南顺相反，冬绚不仅能感知到疼痛，且极其敏感，一丝丝细微的伤痛对她而言都有可能有是致命的。但即使这样，冬绚依然是个活泼开朗的女孩，而这样的特质也渐渐感化着南顺。二人从最初的互看对方不顺眼，到被对方吸引，在一系列事件中融化了彼此的内心。但感知南辕北辙的二人面临的是重重考验，最终二人能否携手，一路走下去呢……本片改编自韩国漫画家江草的同名漫画，他的多部漫画被改编成电影、电视剧。

舂米六（洪金宝 饰）的叔父惨死于满洲人手下，舂米六发誓要替叔父报仇。在三德和尚（陈星 饰）的带领之下，舂米六进入少林寺修习武艺，很受师傅静尘（黄枫 饰）赏识。舂米六报仇心切，知道自己闯不过木人巷，于是决定偷偷潜出少林寺，形迹败露，面临寺规惩戒，所幸惩戒他的是师兄谢亚福（田俊 饰），很快舂米六就获得了下山的许可。牛精良（卢海鹏 饰）面恶心善，是染布厂的机房工人，纨绔子弟白安福（冯克安 饰）长着自己身为满洲人的兄长在市内横行霸道为非作歹，奸污了牛精良貌美如花的妹妹，使其含恨自杀。悲愤交加的牛精良决心替妹妹报仇。

天寒地冻，暴雪纷飞。在偏远的荒郊野外，伫立着一幢历史悠久、破破烂烂的幽森古堡。这里空无一人，却住着4个倍感无聊的幽灵。在过去的日子里，他们已经把所有胆敢进入旧房子的人类都吓跑了。为了打发无聊的时间，幽灵们给报上登载广告的精灵终结公司打去电话。这间公司由米老鼠（沃特·迪斯尼 Walt Disney 配音）、唐老鸭（克拉伦斯·纳什 Clarence Nash 配音）和高菲共同经营，同样感到无聊的他们得到工作后欣喜过望，连忙收拾好工具启程前来抓鬼。精灵终结公司的三个小可怜显然掉进了幽灵们的圈套，他们刚刚进入屋内就受到连番的戏弄。米老鼠他们注定要经历一个难忘的不眠之夜……

*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.