第五次死刑

朝(🧑)廷密(mì(💌) )史、南拳沈(shěn )英伟（王道(🔼)(dào )）为(🍮)了追查(chá(🎚) )大内失(🏉)窃的100万两库银，追踪(📖)到韩国(🛫)，与为亲人报(bào )仇(⚫)的北腿(🧣)萧(xiāo )逸飞（刘忠(zhō(🤐)ng )良）联(🧢)手击(jī )毙潜逃到(🤕)韩(hán )国(🐸)的铁血银(yín )狐（黄(🎯)正利(lì(❎) )）。 A masterpiece (or trash?)..., 11 August 2000 老夫子(zǐ )（王(💰)沙）一(🛌)(yī )觉醒来，见(jiàn )已是(🎒)日上三(🎤)(sān )竿，急忙(🎆)催(cuī )醒(🏃)仍(réng )熟(✌)睡的(de )大蕃(fān )薯（矮(🎐)(ǎi )冬瓜(👢)(guā )）。二(è(🎋)r )人忙(má(🛄)ng )乱一番，便(biàn )去做晨运。 中文(🏇)名海上(🙁)(shàng )明珠 Roger Moore and Stacey Keach star in this Italian-American co-production, and try to be the Martin and Lewis of 70's crime exploitation cinema. The rigor mortis of Roger Moore was never more noticeable as it is here, playing the straight man next to the Keach's easygoing rouge. It's a rather stale exploitation film, with the typical one liners, car chases, shoot outs, and gratuitously bad dubbing of the Italian actors. The film does have one great highlight when Keach takes a gangster's car for a test drive, and in hair-raising fashion, wrecks it through the streets of San Francisco. Unfortunately, it all doesn't work- the comedy isn't funny enough, neither Keach or Moore are particularly convincing (especially Moore, who is as dry as a desert), the violence and stuntwork is middling, the story isn't very engaging, and the ending is painfully banal. There may be just enough `so bad it's good' work that 70's exploitation fans may be entertained, but no one would call it great. In 1926, famous evangelist Aimee Semple McPherson disappeared for six weeks. When she surfaced, she claimed that she had been kidnapped and held prisoner in Mexico. Others claimed that she was off carrying on an affair with a married man. This movie dramatizes the court hearing held to determine exactly what happened.