名侦探柯南582

A crime boss is assassinated and witnesses to the crime are subsequently killed. A no-nonsense policeman decides to take the law into his own hands in bringing these criminals to justice. 国际慈善(shà(🎑)n )会(🎃)议(😅)荣(🍏)誉(yù )会长的夫人(rén )为了帮助(zhù )残疾患者，携(🍳)价(😩)值(🚪)6亿(yì )日元的钻石“法(👽)老(🥇)之(⛱)(zhī(💛) )星”来日展览。期间(jiān )宝石被(bèi )盗，考夫曼夫(fū(🏆) )人(🉐)的女(nǚ )儿亦被掳走(zǒ(🛳)u )。保(🕉)险(🍫)公(😥)(gōng )司会长众树(shù )公威（丹(dān )波哲郎 饰）拜(🕍)托(🐓)前警(jǐng )视总监岚山(shā(🧓)n )（(👬)池(📞)部良(liáng ) 饰）帮忙寻找钻石和(hé )女孩的(de )下落(⛺)。 法(❇)兰(🎨)克(kè )是一个(gè )年轻(👸)而(😹)富(🚌)有(🛺)(yǒu )理想的警(jǐng )察，他从巡(xún )警开始做(zuò )起，后(🍾)来(⏹)成(🐓)(chéng )为卧底警(jǐng )察，虽(👆)然(📨)他(➗)(tā(😧) )的破案率(lǜ )很高，但他不愿意象(xiàng )其他警察(🤱)那(🏾)样收受贿(huì )赂，这(zhè )使(😐)他(🚑)显(🚣)得(♒)和其(qí )他人格(gé )格不入。这(zhè )种做法也(yě )使(🥎)他(🚳)身陷危(wēi )机，因为(wé(📤)i )他(🔕)的(♒)同(😴)事们(men )都与他为(wéi )敌，且不时(shí )地陷害他(tā )。当(🖼)检(🚣)察(💶)组开始调查(chá )警局(💒)内(🛴)(nè(🚾)i )部(🕐)的贪污内幕(mù )时，他(tā )又出面作证(zhèng )，因此更(🗺)(gè(🎎)ng )陷入危险之(zhī )中……(🐰) Uneven and overlong but generally enjoyable thriller with tongue firmly in cheek, an engaging Hitchcockian premise, and plenty of action and stunts (as befits the rather misleading international title). Popular "Euro Cult" star Giuliano Gemma is a racing-car champ who suddenly finds himself embroiled in a murder case while at the same time pursued by thugs (from two different factions!) in search of a drug consignment; regular starlet Susan Scott (the director's wife) appears all-too-briefly as Gemma's shady lover and the murder victim involved. 一(💉)(yī(📔) )个(🦂)男人因涉(shè )嫌强奸他(tā )说不是他但(dàn )有人(🦆)说(🍥)看(kàn )起来像他，但受害(🕧)者(⏬)(zhě(🍦) )坚持说就是他 根据易(yì )卜生戏(xì )剧《玩偶之家(😓)(jiā(🔷) )》改编(biān )。 Hot Wins (made in the majority language, Hindi) boldly confronts a problem familiar to every Indian but hitherto 'taboo' in Indian cinema, theatre and literature: the tension between the Hindu majority and the Muslim minority in India, one of the most delicate and sensitive issues in Indian politics. Indian art had conventionally avoided the issue by showing HIndus and Mislims in their own repective communities, with hardly any penetration of each other's worlds. The truth is, of course, less tidy, and Sathyu tries to broach it by looking back to 1947, the year that india was granted independence, when the sub-continent was divided into India and Pakistan. The partition is not only the background and context for the film's plot, but also its main dynamic, since the storyline chronicles the break-up of a large Muslim family in North India as more and more of its members leave for a brighter future in Pakistan. ...I'll take this almost intolerably nasty 1972 Italian drive-in movie, which features Mark Lester (of OLIVER! fame) as a kidnap victim who gets into scrapes that, in their uncut version, would probably get this movie in Federal chickenhawk-busting trouble today. Franco Nero and Telly Savalas are the two conscienceless galoots who are the movie's anti-heroes; Savalas re-ups his giggling hillbilly cretin from THE DIRTY DOZEN, here caricatured to beyond a fare-thee-well. Savalas is the cherry on the cake of what may be the most remarkable set piece in all seventies Italian exploitation: calming a tourist family, packing them in their mobile home, then untethering the trailer and singing a gospel hymn as the terrified Germans plunge into the drink. If I'm not misremembering, there may be a little jig involved here as well. After her young son accidentally drowns, a woman has a breakdown and is finally placed in a mental hospital. After her release, her husband takes her for a weekend at a secluded country mansion, hoping to help her recover. However, things at the mansion aren't quite what they seem to be, the couple begin to feel an uneasy and oppressive presence, and the mother starts to see things that may, or may not, be hallucinations.