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从前，有三只红、黄、白小蝴蝶，它们从来都和睦相处。有一天，三只小蝴蝶正在玩耍，突然下起了雨。三只小蝴蝶继续飞，飞到了一朵红花面前，说：“红花姐姐，我们可以到你的花瓣下避雨吗？”红花姐姐说：“可以啊，红蝴蝶可以进来避雨，其他的蝴蝶走开！”红蝴蝶说：“不，不！我要和我的朋友们在一起！”接着，三只小蝴蝶继续飞啊飞啊，飞到了一朵黄花面前，说：“黄花姐姐，我们可以到你的花瓣下避雨吗？”黄花姐姐说：“可以啊，黄蝴蝶可以进来避雨，其他的蝴蝶走开！”黄蝴蝶说：“不，不！我要和我的朋友们在一起！”三只小蝴蝶又继续的飞啊飞啊，飞到了一朵白花面前，说：白花姐姐，我们可以到你的花瓣下避雨吗？”白花姐姐说：“可以啊，白蝴蝶可以进来避雨，其他的蝴蝶走开！”白蝴蝶说：“不，不！我要和我的朋友们在一起！”太阳公公看到了，被三只小蝴蝶的作为感动了，它赶走了乌云，赶走了雨婆婆，天空晴朗起来了。三只小蝴蝶继续玩耍起来了……

*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.

话说这一日，唐朝和尚唐僧（何藩 饰）带着沿途手下的徒弟孙悟空（周龙章 饰）、猪八戒（彭鹏 饰）、沙和尚（田琛 饰）跋山涉水，历经艰苦，辗转来到了烈火炎炎的火焰山。因当年悟空大闹天空踹翻了炼丹炉，导致天火降落人间，非铁扇公主（丁红 饰）的宝扇不能灭除。悟空因之前降伏红孩儿，致令结拜大哥牛魔王（井淼 饰）及其夫人铁扇公主对其恨之入骨，坚决不肯借扇子，由此上演了三盗芭蕉扇的好戏。经过一波三折，师徒四人好不容易闯过火焰山，结果又遭遇白骨精姐妹（郑佩佩 & 何莉莉 饰）两姐妹的阻截。为吃到唐僧肉，白骨精变化多端，诡计频出……

本片根据真实历史事件改编。1971年，黑人激进组织领导迈克尔X因贩毒被控告，但因他一年前取得了英国皇室成员玛格丽特公主的私密照片并以此要挟官方而被开释。英国军情五处工作人员提姆（Richard Lintern 饰）受命取回收藏在伦敦某银行的这批照片。提姆物色到贩毒女子玛婷（Saffron Burrows 饰），要挟她抢劫银行来为自己取得照片。玛婷很快同以泰瑞（Jason Statham 饰）为首的几个半职业罪犯或新人组成了计划挖地道劫掠保险库的团伙。泰瑞等人如愿将保险库洗劫，但赃物却让他们坐立不安：涉及皇室成员的私密照片、银行家行贿官员的账本、高官们不可告人的龌龊爱好……由于一位无线电爱好者无意间听到了他们作案时的对话内容，此案掀起轩然大波，泰瑞等人陷入了各种势力争夺的中心，他只能借助手上的证据苦苦周旋……