*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.

故事发生在1660年的法国，国王路易（理查德·查伯兰 Richard Chamberlain 饰）整日沉湎于酒色之中，无心朝政，使臣民们生活在水深火热之中。路易有一个孪生弟弟名为菲利普（理查德·查伯兰 Richard Chamberlain 饰），史书中记载的菲利普刚刚出生便已夭折，可实际上，他被偷偷送往阿尔卑斯山的一个庄园中，隐姓埋名，生长在此。国王的昏庸让内务大臣科贝尔（拉尔夫·理查德森 Ralph Richardson 饰）和火枪手队长达达尼昂（路易斯·乔丹 Louis Jourdan 饰）感到大为不满，他们决定找到菲利普，扶持他推翻哥哥的统治，登上王位。贪婪的财政大臣富凯（帕特里克·麦高汉 Patrick McGoohan 饰）早先一步找到了菲利普，他和国王一起设计，给菲利普带上铁面，投入了深牢之中。

一直以来，尼基（丹尼尔·布鲁赫 Daniel Brühl 饰）和詹姆斯（克里斯·海姆斯沃斯 Chris Hemsworth 饰）都是针锋相对的死对头。尼基认真严肃，对赛车的职业十分尊重，詹姆斯喜欢铤而走险，将赛车作为自己寻花问柳的筹码，虽然两人有着截然不同的个性，但他们之间的较量却从未停止过。为了改变自己不够成熟的性格，詹姆斯和偶然遇见的名模苏西（奥利维亚·王尔德 Olivia Wilde 饰）结婚了，尼基亦找到了自己的一生挚爱并且加入了法拉利车队，而此时生活已经走上了下坡路的詹姆斯则加入了麦克拉伦车队，一对冤家再次站在了人生的战场之上。一次比赛中，天降大雨，尼基出了车祸身受重伤，詹姆斯因此夺得了冠军。可是，尼基并没有因此而放弃，在极短的时间内，尽管受到了众人的制止，但他依然毅然地回到了赛场上。

世界闻名的原子物理学家冲田彻夫（二瓶秀雄 饰）在四国山脉某处发现神秘元素“超铀”，该元素蕴含常人难以想象的能量，一旦被恶人利用制造杀人武器，将造成不可估量的后果。在返回东京的途中，冲田教授遭到秘密结社毒蝎帮绑架。得知这一消息的风见志郎（宫内洋 饰）偷偷潜入毒蝎帮所在的无人小岛，救出了教授。伤重不治的教授临死前交代风见去找他的妹妹冲田广子（森桃江 饰）寻找矿藏地图。他们一路前行，谁知毒蝎帮尾随其后。大敌当前，假面骑士V3绝不退缩！关键时刻，连假面骑士1号（藤冈弘 饰）和2号（佐佐木刚 饰）也加入战局……本片根据石之森章太郎的漫画原作改编。