剑在炫上全集

大導(🐬)(dǎ(💇)o )演(⌛)楚(🛒)(chǔ )原作品中，唯一一部潮語戲曲電影(🎀)，意(🌬)(yì(🔜) )義重(chóng )大。本片(piàn )是家(jiā )傳戶曉之潮(🔚)劇(🏸)戲(📟)寶(🍀)，故事背景發生(shēng )於南(nán )宋末(mò )年，元(🏉)軍(🚰)(jun1 )攻(🏔)陷(🌯)臨安，宋帝南逃至廣東崖門，遭逢(féng )元(❗)軍(🃏)(jun1 )圍(😒)困(kùn )，危(wēi )在旦(dàn )夕，下詔張達將軍(丁(🦌)敏(📍) 飾(📢))起(📌)兵勤王。張(zhāng )達之(zhī )義軍(jun1 )遭元(yuán )軍水(📭)(shuǐ(🔶) )陸(🚃)兩路封鎖，糧水斷絕，處境十分危險(xiǎ(🍝)n )；(🍉)其(🤝)(qí(🗓) )妻陳(chén )璧娘(niáng )(蕭南(nán )英 飾)聞此驟變(🐖)，立(🚦)即(🏪)定下奇襲元軍之計(jì )劃…… To marry the nice teacher Yvette, Julien goes to Paris.BY: Ji-hun takes a break from his art studies in Paris to return to Korea and visit with his family. While there, he falls in love with a young widow. However, their future happiness seems doomed as she is already engaged to be remarried 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. The martial world is now awash in one-armed knights, who aren't inclined to make any permanent alliances among themselves. "In a town in southern Sweden, Sven Klang decides to enliven his dance combo with a new sax player, Lasse from Stockholm. At first all goes well; but bit by bit Lasse brings into question all the rigid values, musical and social, by which the faintly supercilious Sven has set his life's course. Gunnel, the vocalist, falls for the newcomer's charms and finds herself pregnant when Lasse and Sven eventually part in high dudgeon. The daily round continues. Eventually Lasse pops up again, and disappoints all save Sven by turning tail in the face of Gunnel's love and his sense of guilt at having fathered her child....The appeal of Sven Klang's Combo lies in its utter lack of pretension, in its small town atmosphere and its vivid characterisation. One imagines that the actors were able to improvise their lines and contribute personal touches that fleshed out their roles. Their autobiographies become fiction; but fiction, as so often, also becomes truth. This film recognises that big emotions stem from small incidents and that one is forever a prisoner of one's generation." (Peter Cowie, 1978 International Film Guide) 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.