又是一年快乐的六一儿童节到来了，慈祥的太阳公公坐在天堂的宫殿上，感叹孩子们起得比他还早。虽然经过了万万年的岁月，但是太阳公公史无前例地决定邀请地球上的小朋友们来到他的宫殿过节。当然在此之前一定要发出请帖，于是太阳公公委托可爱调皮的光之使者去地球传达这一好消息。地球上，小朋友们在自己的节日里快乐玩耍，无忧无虑，来自太阳公公的请帖无疑为他们增添了更大的喜悦。与此同时，还有很多生活在战火与贫穷的小朋友们，他们为了吃饱肚子而愁坏脑筋，四处捡垃圾的同时又要遭到冷嘲热讽，无力谩骂。孩子们的节日，权且让他们聚在太阳宫，平等享受太阳公公所赐予的快乐与温暖吧！

*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.

由张彻所发掘, 刚阳味十足的陈观泰, 演活《逃亡》中一副侠骨仁风的真汉子顾回, 虽自幼於土匪窝中长大, 却立志劫富济贫, 不屑新一辈土匪头子杜健强(吴池钦)那残忍狠毒手段. 后因一少女唐丽(施思)被杜所掳, 复迫作压寨夫人, 顾回遂将唐救出, 踏上被黑, 白两道追杀的逃亡之路. 经过多次死里逃生的经历, 尤幸顾最终鼓起勇气面对现实, 参与剿匪行动, 保得天下太平之馀, 还赢回一个重新做人的机会.

故事以TV版为基础，战斗所剩下的骑士只有六人：城户真司(龙骑)、秋山莲(夜骑)、北冈秀一(钢兵),浅仓威(王蛇),雾岛美穗(FEMME)和神秘的龙牙RYUGA。雾岛美穗成为 骑士的目的是要杀死浅仓为姊姊报仇，并令姊姊复活。而北冈正是帮浅仓脱去杀人罪的律师，他因内疚而多次帮助美穗，可惜美穗并不接受，令他意兴阑珊的退出 骑士之间的战斗。为了报仇的美穗不理真司的阻止，仍多次与浅仓战斗，却反而令自己陷入危机，当浅仓向美穗下毒手时，龙牙突然出现解救美穗，并以强大的力量将王蛇压倒 ，令美穗成功杀死浅仓。由於美穗以为是真司救了她，便相约他出来吃东西希望报答他，而真司和美穗的感情亦得以发展，可惜这个美好时刻却被邪恶的 龙牙破坏。镜世界中的真司(RYUGA)假冒真正的真司袭击美穗，美穗於是与龙牙战斗但不敌，虽然美穗被真司所救，但最後因伤重而死…。另一方面取回小时候的记忆的优衣，知道神崎士郎发动战斗的目的是为了自己(详情请看TV版剧情简介的部份)，於是她决定以自杀来阻止神崎士郎的疯狂行为 。另外真司亦知道自己是小时候间接害死优衣的人，令他感到非常内疚。此时镜世界中的真司出现，并欺骗真司说和他合体可拯救优衣，合体後的龇牙以最强Rider的身份向 放夜骑作出挑战。得悉优衣已死的神崎士郎受不了打击，在痛哭嚎叫下消失了，镜世界中的成千上万蜻蜓怪因而失控，飞到现实世界袭击人类。战斗中的夜骑与龙牙终於发现优衣的屍体 ，在这个冲击下真司竟从龙牙的身体中分裂出来，并和龙牙作宿命决战。最後真司和莲变身成SURVIVE形态，骑著契约兽飞向成千上万的蜻蜓怪，与它们作最後决战，走向未知的未来…。