TV第11话剧场版(🕖)。
具争议性(xìng )和(hé )开(👯)创性的喜剧(jù )演(🧦)员伦(🧗)尼布鲁斯的(de )传(📅)(chuán )记电影，全(quán )片(🧑)(piàn )追(🤭)溯伦(🈷)尼布鲁斯反政府的政治观(🚯)(guān )点(🍉)(diǎn )。全片以倒叙(xù(🍇) )的手法，分别从(💻)母(mǔ(🔵) )亲(qīn )、妻子和经(🖱)(jīng )纪(🏿)(jì )人的角度出(📎)发讲叙(xù )了喜剧(😡)演员(🥞)伦(lún )尼(ní )布鲁斯的一生。
小(🚭)辣椒(👳)和繡(👜)花枕(🕺)(zhěn )受(shòu )一位(🌒)億萬富(fù )翁(wē(🛹)ng )林某(🏹)所託，飛往美(měi )國(👭)(guó )三藩市追尋(xún )他(📮)(tā )的獨生女兒林(🛒)秀鶯(🎅)的下落，並囑(zhǔ(🤓) )二(èr )人將此行任(🔥)務(wù(🐾) )保持(🏰)秘密。抵達後(hòu )尋(xún )找林女(〰)期間(🛌)(jiān )，因義助一女子(🛒)免被小偷扒去(🥓)巨款(😛)(kuǎn )，而與武館中的(🦅)教(jiā(⭐)o )頭張得標結為(🏜)好(hǎo )友(yǒu )。兩人終(🦓)在(zà(🍂)i )嬉(xī )皮士聚集的地方發(fā(🤮) )現了(🔍)林秀(🙉)鶯，可(👮)(kě )惜她誤入(🌩)歧途，結識了黑(😞)社會(✔)歹(dǎi )徒(tú )羅拔吳(🧥)。小(xiǎo )辣(là )椒和繡花(⬛)枕表明來(lái )意(yì(🥝) )及說(🏪)服她回(huí )港(gǎ(🔫)ng )，不料羅拔吳獲悉(🏣)秀鶯(🥈)是香(〰)港富(fù )豪(háo )之女，即與其(qí(📬) )黑社(♏)會首領大哥合(hé(🎼) )謀(móu )，將秀鶯擄(🔴)(lǔ )去(🤺)(qù )，小辣椒和繡花(🎚)枕為(🌷)拯救她，聯(lián )同(🛌)(tóng )教頭張得標一(📣)起(qǐ(🐃) )前往歹徒基地……
马克斯(🦌)（吉(🎅)(jí )恩(💾)(ēn )·(🖕)哈克曼 Gene Hackman 饰）(🌏)和莱(lái )恩（阿(🚀)尔·(♊)帕(pà )西(xī )诺 Al Pacino 饰）(😹)都觉得彼此相见恨(➗)晚，因(yīn )为(wéi )个人(🙏)原因(🍏)不(bú )得(dé )不分(🎾)手的两人约定(dì(💳)ng )了(le )再(🦏)次相(🐤)见的(de )日(rì )子。莱恩是一名船(🕋)员，在(🛤)结束了(le )长(zhǎng )达七(👃)年的海上(shàng )漂(🌨)泊作(🎢)业后，他终(zhōng )于(yú(🚄) )可以(🥒)回到家(jiā )乡(xiā(🍯)ng )，回到思念多年的(🏠)妻子(🤤)身边。马(mǎ )克(kè )斯是一名囚(😝)犯，在(📃)监狱(🕹)里服(😇)完刑(xíng )的(de )他(🌘)决定开一(yī )家(🍝)(jiā )洗(🛡)车店，并且修复(fù(🆖) )他和妹妹可莉(lì )（(😤)桃乐茜·崔斯坦(🛍) Dorothy Tristan 饰）(🎀)之间的亲情(qí(⏸)ng )。
一位年輕女子(zǐ(🍖) )，名為(👸)安妮(💁)塔患有(yǒu )心(xīn )理問題和性(🛁)(xìng )濫(💳)(làn )交，是因她混亂(👱)的童年和漠不(🎬)關(guā(👮)n )心(xīn )的父母。她經(🛏)(jīng )常(⏸)和多位陌生人(🛑)發(fā )生(shēng )性關係(🥦)，雖(suī(🕶) )被(bèi )她的親友認為淫蕩輕(🥒)浮，也(🌑)全然(💹)(rán )不(📯)(bú )在乎，只是(🦐)得不(bú )到一次(🛬)真正(🐁)的「高(gāo )潮」。當(🌧)她(tā )遇(yù )見埃里克(🕚)，是該地(dì )一所大(⛵)學的(😘)學(xué )生(shēng )，他試(💍)圖通過分析她過(👒)去的(🥁)關係(🏬)(xì )，他幫助她的煩(fán )惱。埃里(🐏)克露(💗)出她(tā )最(zuì )親密(📜)和最激(jī )烈(liè(✍) )的遭(🕌)遇戰之後，他決定(🤩)，為了(💸)她(tā )克(kè )服她(🤪)的色情狂(kuáng )，他首(🍈)先必(🚌)須讓她(tā )壓(yā )制難以抑制(🍚)(zhì )的(🦗)(de )浮濫(📽)性慾(🎃)望。經歷漂亮(⛔)心理學家(jiā )-提(🎄)(tí )供(⏹)強制性的同性(xì(🌝)ng )戀診療，及埃里(lǐ )克(🤡)(kè )細心觀照，與(yǔ(🏀) )一系(💕)列事件的性愛(😊)(ài )嘗試，在賞心(xī(🍓)n )悅(yuè(👨) )目的(✡)方式，自然使她達到了性高(⬛)(gāo )潮(🚾)(cháo )，直到她被“治愈(🌌)”了........
L' ultima chance is one of those Italian films overdubbed in English in order to appeal to english-speaking audiences. It's about the love of a woman for a criminal who stays at the motel she owns. Well, it's a little more complicated than that, but it's an interesting plot. The movie, however,is poorly made, complete with lousy acting (Andress being an exception). Suspense is maintained throughout the movie, which is certainly a plus.
Valerie, a beautiful young girl, watches over her cousin's place while he is away for six months. Not one to take advantage of her new "digs", she spends her first night there reading, playing records and. calling her girlfriend Sophie over for some hot lesbian sex! Later that night, members of a crazed sex cult break in and mistakenly kidnap Sophie. It seems Valerie's cousin, a member of this cult, has some incriminating photos and the leader wants to ruin his life. Realizing the mistake, the cult leader sends over a sultry French maid to seduce and kidnap Valerie (only AFTER some steamy sex, of course). Once the kidnapping plot is uncovered, Valerie and Sophie's horny friend Fred head over to the cult's mansion stronghold to put a stop to all this madness!
一个研究(jiū(⬆) )能(né(💏)ng )源的不出名(míng )的(🐄)(de )法国(🐹)物理学工作者(〰)克莱芒·蒂贝(bè(♏)i )尔(ě(🐜)r )，1957年在维也纳(nà )出席国际热(😄)核会(🏷)议(yì(🆑) )途(tú )中被苏联一(🎪)(yī )个(gè )披着交(🕢)响乐(🧀)队指挥外衣的克(🧢)格勃(bó )分(fèn )子鲍利(🧕)斯绑架去(qù )苏联(🕔)。后来(✝)蒂贝(bèi )尔(ěr )在克格勃的(de )胁(xié )迫(🕳)下为(🧒)苏联(🤽)原子能(néng )研究所工作了(le )10多(🛠)(duō )年(❎)。
Giulio Borsi (Marcello Mastroianni), a reactionary pharmaceuticals executive, has just set off for a weekend with his young mistress (Carole André) when the two are taken hostage at a gas station by three anarchists. Hunted by the police and transformed into media stars by the press, the trio escapes with their hostages to an isolated villa. For a brief moment, it seems as if class contradictions can be overcome, but then there is a showdown between the authorities and the far-left outlaws. Dino Risi’s darkest political satire was loosely based on a true story and anticipated the armed struggles between the Brigate Rosse and state power. It is also a clairvoyant account of the increasingly sensationalist and bloodthirsty media. At times, it almost seems like a model for the Gladbeck hostage crisis of 1988.