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#心慌方翻拍日本版#《综艺》报道：著名科幻悬疑惊悚片《心慌方/异次元杀阵》翻拍日本版。菅田将晖、冈田将生、斋藤工、杏、吉田健太郎 、田代辉出演六个主人公，他们发现被困在一座神秘复杂的迷宫中，面临……清水康彦(《万力》)执导，松竹发行，去年10月、11月已拍完，定档今年10月22日日本上映。

美国片深海巨灵大海龟，讲的是一个在海边长大的小男孩很孤独，常在海边玩，有一次一个小女孩从海里跑了出来，于是他们成了朋友一起玩，他们拣到一个海龟，共同在海龟背上刻了一个图案．天色晚了，小女孩送给他一串项链，又回到海里去了．10年后，男孩长大了，有人发现海里有史前巨型生物，于是一队科学家去考察，原来是一只巨型海龟，很多人都想捉它，有的为科学，有的为发财，那个年青人出于好奇也加入了．但那个海龟真是大的吓人，和足球场一般大小，鲨鱼也才他的脑袋一样长，海龟虽然可怕，但对人并没什么威胁．很多人试图用各种办法来抓它都失败了就剩下一个黑人还不放弃．这时一个神秘女子出现了，她找到那个年轻人，劝他不要去抓海龟，年轻人认出了她正是小时候一起在海边的玩伴，正有很多问题想问她时，那个黑人喊他准备出发，等他回过头来，女子已经消失不见了

汤姆（弗雷德里克·马奇 Fredric March 饰）是一名内心怀揣着远大理想的剧作家，而乔治（加里·库柏 Gary Cooper 饰）则是一位名不见经传的小小画家，两人同为文艺界人士，在巴黎合租了一幢公寓。一次偶然中，汤姆和乔治邂逅了名为吉尔达（米利亚姆·霍普金斯 Miriam Hopkins 饰）的女子，两人同时被吉尔达与众不同的魅力所深深吸引，坠入了情网。然而，夹在这两个男人之间的吉尔达无法做出选择，于是想出了一个注意，那就是住进汤姆和乔治家中，督促他们创作作品，就这样，一段奇怪的三角关系形成了。为了创作一部话剧，汤姆需要返回伦敦待一阵子，他十分担心在他不在的这段时间里，乔治和吉尔达之间会擦出火花。

*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.