从Oklahoma 来到纽约(🏮)的青(qīng )年(nián )Claude和一群以(🤭)Berger为(⚪)首的(de )嬉皮士结(jié )下了(📈)友谊，在(zài )这(zhè )期间他(💮)和(🌖)来自豪(háo )门的姑娘(niá(♿)ng )Sheila相爱了，可是(shì )欢(huān )聚(🐤)的(🕟)时光短暂， Claude被卷入(rù )了(🐙)(le )美国打着维护世(shì )界(💌)和(🍥)平旗(qí )号发动的越南(🌥)(nán )战(zhàn )争中，就在他将(👿)要出发去(qù )前线时，Berger潜(🏮)入(㊙)军(jun1 )营，把Claude换(huàn )出来和Sheila见(🍙)最后(hòu )一(yī )面，谁曾想(👹)部(🖕)队(duì )恰在这个(gè )时候(🏣)开拔，眼(yǎn )看(kàn )着Berger一步(🕊)一(🦑)步随着队伍走(zǒu )向(xià(🐠)ng )飞机……
广东大(dà )良(🗨)富(😫)家子(zǐ )南斗官（张展(🈂)(zhǎn )鹏(péng )）学得一身功(🍪)夫(📡)(fū )，在乡间(jiān )常闯祸，其(📘)母(mǔ )希(xī )望斗官娶妻(🥌)立品，乃遣(qiǎn )其(qí )上京(🙋)参(🤯)加香格格(gé )招亲大会(🙅)(huì )。其实斗官所(suǒ )以(yǐ(🚿) )答(📣)允上京，目的(de )是找三名(🏾)(míng )北少爷——[千术(shù(🧗) )北(🔼)少爷]车(chē )载（傅声）(🙌)，[泡(pào )妞高手]真厉害（(🍵)陈(🍎)百祥） [神偷北少爷]时(🅱)(shí )三(sān )手（汪禹）四(👤)人(☝)不打不相(xiàng )识好友， 以(🐄)其合(hé )力对付仇(chóu )家(🎢)三(🚚)眼道人（王(wáng )龙威）(🚚)
This is the story of a new boy in a boys work farm. The guard Bull is sadistic. The Priest is overly familiar with his charges , and the boys are all homosexual.
四个到山(shān )里寻找亲(😶)(qīn )人的红粉佳丽(lì )，却(♉)阴(🥟)差阳错地闯入了匪(fě(👕)i )徒(tú )的老巢。四人正(zhè(🌊)ng )想(🚖)寻找出(chū )路，不知不觉(🛩)(jiào )间(jiān )天近黄昏，除了(😆)(le )一(🗽)个过气(qì )的牛仔和他(💊)的狼(láng )犬能够帮到忙(🚌)之(😨)外，她(tā )们(men )就只能依靠(🥦)自己(jǐ )的力量来(lái )对(👭)付(🤴)那一伙全(quán )副(fù )武装(🌓)的歹徒。然而此时夜(yè(🤵) )幕(🔂)降临山谷四周(zhōu )阴森(🍤)而凄(qī )然，他们即将(jiā(👄)ng )迎(yíng )来的黎明是那样(😐)(yà(🛵)ng )的痛苦与(yǔ )漫长，而有(📺)的(de )人(rén )或许已经没有(🍓)机(🚻)会看见(jiàn )地(dì )平线上(🎊)升起的太(tài )阳……
Included in Jonathan Rosenbaum’(🆗)s list of 1000 essential films, Parviz Kimiavi’(🏫)s The Mongols (1973) is a leftfield satire and sharp commentary on the expanding presence of cinema and television in Iran. The story follows a filmmaker, played by Kimiavi himself and also named Parviz, as he struggles with both his own film and a looming assignment to oversee the installation of a television relay station in the remote province of Zahedan. Imbued by his wife’s thesis work on the Mongol invasion of Iran, Parviz’s anxieties coalesce and materialize in the form of surreal visions in which the origins of cinema are acted out by the Turkomans he hired to play Mongols in his own film. Together with Parviz, we watch as the would-be gang of Mongols wander the desert in search of their director and the answers to their pressing questions about the nature of cinema, all while the forthcoming introduction of television consumes the local village and its inhabitants. Kimiavi fashions a fantastical cinematic space rife with bizarre metaphoric imagery and Godardian references to film-making in order to draw a sarcastic parallel between the Mongol invasion and the hyper-accelerated modernization of 1970s Iran.
《角斗(dòu )》
这是部友(🦊)情，爱(ài )情相接和(hé )的(📼)影(✋)片，以一对(duì )好友-同志(🤳)Ramón和腐女Esperanza为背(bèi )景(jǐ(🔘)ng )的(🙅)。Esperanza（大龄，单(dān )身，幼儿(é(💟)r )园阿姨）和Ramón（gay，帅哥(📞)，律(🚇)师）是一对密(mì )友。Esperanza甚(🏆)至不止一(yī )次装作是(💐)(shì )Ramón的老婆来假(jiǎ )装(👪)(zhuā(🥪)ng )捉奸在床，帮Ramón赶走不(🌦)受(shòu )欢迎的一夜情(qí(😋)ng )对(🤐)(duì )象
Sergio Martino's 1973 poliziotteschi The Violent Professionals aka Milano Trema – La Polizia Vuole Giustizia doesn't exactly reinvent the wheel, but it's one of the better examples of an overpopulated genre, with Luc Merenda playing the typical shoot-first-so-you-don't-have-to-ask-questions-later maverick cop after the gang that killed his boss and several innocent bystanders. Like I said, it doesn't exactly reinvent the wheel, but it does make sure it keeps turning fairly efficiently for 104 minutes. It's not as good as its enthusiastic cult reputation implies, not least because the big twist about the motive behind a series of gratuitously violent bank robberies isn't exactly surprising (like the Red Brigades of the day, the robbers are more interested in spreading chaos than getting rich), but it does get extra points for being one of the few films where, when a car crashes over a hill, it doesn't explode in a ball of fire on the way down. There's also a great spin on the omnipresent car-driving-through-stacks-of-empty-crates shot in one chase scene by having Merenda's car drive through stacks of burning crates that was so popular the footage was reused in at least two other movies (Milano Odia: La Polizia Non Può Sparare and Roma a Mano Armata). Richard Conte is the contractually obligatory American co-star, acquitting himself well despite some hilariously obvious doubling in a fight scene, Tinto Brass regular Martine Brochard makes an attractive junkie and there's a catchy De Angelis brothers score.