姐姐真漂亮

《Show Me The Ghost》是一部自主展开驱魔行动，自己守护自己家园的驱魔喜剧。

*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.

现实生活中，大雄（小原乃梨子 配音）经常受到老师和妈妈的责骂，还常被小夫（肝付兼太 配音）、胖虎（立壁和也 配音）欺负。他无时无刻不在梦想成为胆识过人、实力强大的超级英雄。为了帮心情低落的大雄一圆英雄梦，哆啦A梦（大山のぶ代 配音）拿出造梦机器。经过一番挑选，大雄鬼使神差地选择了《梦幻三剑士》的剧情。在精灵西露可（山本道子 配音）的引领下，大雄来到了梦中的亚米鲁曼王国。在这里，他被称为银剑客诺比尼亚，宿命中将要推翻妖灵大帝奥特罗姆对亚米鲁曼王国的统治，他还遇到小夫和胖虎模样的剑客斯内密斯、贾托斯。他们联手向妖灵军团发起冲击，而在这一过程中，现实和梦境的界限渐渐混淆……

东都综合医院为一位疑难病症患者投放新型药物，仅仅三天后该患者突发心肌梗塞身亡。患者遗孀中原纱弥加（吉濑美智子 饰）悲痛交加，她认为丈夫死于医疗事故，因此拜托“敲诈律师”九条和马（大森南朋 饰）对医院提起指控。因盲肠炎住院治疗的古美门研介（堺雅人 饰）刚好是该医院的顾问律师，他三下五除二赶走了九条。谁知九条一改当初的敲诈作风，而是煞有其事地将东都综合医院正式告上法庭。随着庭审的进行，医护人员涉嫌隐藏新药的致死副作用以及院长赤目义和专横跋扈、糜烂堕落的生活作风接连被曝了出来。终于开始认真应战的古美门律师以及在法律和道义两端摇摆不定的黛真知子（新垣结衣 饰），在一波三折中奔向庭审的终点线……