佛(♓)烈到(🛬)印(yìn )尼(🌡)一(yī(🌱) )小(xiǎo )岛寻找石油，途中遇(yù )偷渡客积斯高(gāo )与沉船获救的戴安。戴安(🗡)被士人捉(zhuō(🤵) )去祭(jì )神(shé(🐕)n )，原来士人膜(🌃)(mó )拜的金刚(🚼)是一头身高(🚴)(gāo )十丈的大(🍠)猩猩(xīng )。金刚(📿)(gāng )对戴安起(🕷)了怜(lián )惜之(🍹)(zhī )心(xīn )，但佛(🍙)烈却将(jiāng )金(🏊)刚迷倒，送到(⛷)纽约(yuē )展览(😺)。金刚醒(xǐng )来(🍣)却找(zhǎ(✊)o )寻戴(㊗)安，大闹(🚲)(nào )纽(🎤)约。
Young women in Nazi-occupied countries are packed onto a train and shipped off to a prison camp, where the sadistic commandant uses them as rewards for his lesbian guards and perverted and deviate troops.
Although pretty much forgotten, The Last Round aka Il Conto é Chiuso is a good example of a familiar story made fresh by the quality of its execution, as a stranger drifts into a decaying Italian industrial looking to settle an old score. But this violent modern-day (well, 1976) poliziotteschi is closer to Dashiell Hammett's Red Harvest than the first two films it inspired, Yojimbo and Fistful of Dollars, set in its own Italian Poisonville divided between two rival gangs that he soon sets against each other. Surprisingly, despite being directed by the sometimes more adequate than inspired Stelvio Massi, it's shot with striking visual imagination and remarkably fluid camera-work from Franco Delli Colli. The two leads are impressive too, with Luc Merenda a wonderfully effective and dapper villain and undefeated middleweight champion boxer and offscreen wife-beater and murderer Carlos Monzon a surprisingly effective leading man in the mould of a young Charles Bronson.
本(🥁)片敘(🍿)述一(yī(👋) )段難(🧔)以處理(🐢)的三(🍧)角關(guān )係.
这部电影的(de )故事(shì )情(qíng )节涉及纽约多(duō )个居民(mín )犯下的(🧢)一系列(liè )无(🥂)动机谋杀案(😅)(àn )：一名(mí(🕵)ng )狙击手从水(💡)塔(tǎ )中射(shè(🖤) )杀(shā )人; 一位(👷)父亲谋(móu )杀(🖐)了他的家人(🌦); 在圣帕(pà )特(😯)里克节游行(🏀)(háng )期间，一名(📞)警察向人(ré(🌦)n )群开火(huǒ )。 犯(🔻)罪的唯一(yī(👜) )共同点是肇(🧜)事者都(🏔)冷(lě(🔼)ng )静承认(📺)有罪(🍅)，并解释(🥥)(shì )说(🚪)，“这是上(😛)(shàng )帝(🥚)的旨(zhǐ )意。” 在(🔹)调查(chá )谋杀案时，天主教警(jǐng )察彼得·尼古(gǔ )拉斯(sī )越(yuè )来越多地(👣)被一(yī )个名(🌐)叫伯纳德·(🛂)菲利(lì )普斯(🛑)的证词所(suǒ(🤪) )困扰，他们发(🖊)现每一(yī )个(🧘)杀(shā )手(shǒu )出(📹)现，似乎都(dō(👢)u )无法摆脱他(🧘)自己的命(mì(🏭)ng )运与这种神(🕤)秘(mì )事件的(🧢)(de )联系。随着他(🍀)(tā )逐渐接(jiē(♌) )近真相(🍃)，他最(⚾)(zuì )担心(🔎)的事(🧜)情得到(🕚)了证(🚊)(zhèng )实。
This is an interesting movie. It is a tendency of Italian exploitation movies in general to eschew logical plotting and character development to focus on elaborate cinematic "set pieces". While this usually works with gialli (and some would say cannibal and zombie films)it is often problem in the Italian crime films where the set pieces usually involve shoot-outs and overlong car chases, two areas where the Italians had NO chance of outdoing bigger-budget Hollywood films (although they often did their damnedest). This film is interesting therefore because it DOES have a lot of character development especially among the villains, three privileged youths that become desperate criminals after their clean-cut but increasingly psychotic leader, "Blondie", starts a gun battle during a botched gas station robbery. One of the other youths is a more obviously deranged thrill seeker, while the third youth, the "wheel-man" is decidedly non-violent but loyal to a fault to his two friends. Rounding out the cast is the girlfriend of the wheel-man (Eleanora Giorgi) who ironically sets the whole thing in motion by reporting the robbery plans to the police (and mistakenly telling them that the trio only have toy guns). The head cop meanwhile is played by Tomas Milan, usually the psychotic heavy in these type of films. Milan lends an iconic presence and is an interesting character in that he is not unsympathetic but is also not the usual borderline-fascist "rebel with a badge" often seen in these movies. Mostly he just proves tragically incompetent at stopping the rampaging youths. The plot is mostly pretty believable except for a scene where they hook up with another group of youths and shoot-up and rob a grocery store, even killing their own accomplices for no good reason. There's some pretty gratuitous nudity including a pretty sorry excuse to get Giorgi topless (but who's gonna complain about that too much?). The ending is typically cynical, but that's one thing I admire about these films over the violence-glorifying Hollywood versions.