演员王雷

Based on a true story. In 1915, a mountain village in Japan was attacked by a giant bear, dubbed “Red Spot”, who terrorized the villagers for days, murdering the men and carrying off the women to save for a late night meal. Sonny Chiba (`Kill Bill`), in his directorial debut, and special advisor Kinji Fukasaku (“Battle Royale”) present a film based on this terrifying real life incident. YELLOW FANGS tells the story of a young bear hunter living in the village of Hawk’(🍸)s Hills, Japan. When Yuki, a young woman recently kicked out of her home, spends the night with him, a giant bear attacks her home, kills her father, her brothers and carries her mother off into the mountains. The bear hunters gather together and go after the beast but he forbids Yuki to follow. Undaunted, Yuki disguises herself as a boy and goes after “Red Spot” herself. An innocent, though anything but naive, woman is in the wrong place at the wrong time. While waiting for her more adventurous friend outside a seedy dance bar, she is approached by two men who ''naturally'' assume that any woman hanging around such a joint is looking for action. Even with their certain alcohol and testosterone overloads, they could not possibly interpret her rejections as merely playing hard to get. But hey, they only gave her what was coming to her, right? I mean, what was she doing hanging around a place like that at that time of night, anyways? This episode proceeds through the mens' idea of foreplay. But, although the woman's experience must certainly have been traumatic, she manages to avoid penetration by maiming her prospective rapists in an almost comical way. You can imagine her disbelief when, after her friends and family discourage her from pressing charges, she is informed that her attacker has the impudence to charge her with assault. Her strength throughout the rest of the movie is admirable, as she remains rational among her incredibly irrational (yet typical) contemporaries. 太空英雄和银河公柱(zhù(🥠) )戈(🧣)登被(bèi )一群太(tài )空啦啦(lā(🔺) )队(🎎)绑架(jià )，希望(wàng )利用他拯(♌)救(🚄)他们的星球。一个被(🔒)称(chē(👦)ng )为(🐷)邪恶(è )存在的(de )人已经(jī(😛)ng )使(💸)他们(men )的世界(jiè )变得无能(🐕)，而(🔺)女人(rén )们迫切需要某种(🏽)(zhǒ(😒)ng )形式的(de )解脱。肉体的(de )女朋友(⬆)(yǒ(🕜)u )热心也(yě )在后面，试(📶)图阻(🤶)止(🥙)(zhǐ )他摆脱困境，但很(🔧)快发(🏯)(fā(🍏) )现自己(jǐ )被邪恶(è )的存(🍫)在(🍠)(zài )者绑架(jià )了，他有自己(🎬)的(⛓)计划。肉体能让这个星球(qiú(🥜) )的(🕴)人再(zài )次站起(qǐ )来吗？(🆗) Three short stories come to the screen, each focused on a man and a woman. The first is set in the 1940s, the other two in the 1920s. In "The Man in a Brooks Brothers Suit," a businessman of about 40 plies a younger Leftist women with liquor aboard a train. They spend the night together, and he decides he's in love with her. She plays along. In "Dusk Before Fireworks," Kit, a youthful flapper, arrives at Hoby's classy flat intent on an evening of passion. A constantly ringing telephone interrupts each embrace. In "Hills Like White Elephants," a couple traveling in Spain discuss her pregnancy: he wants things to stay as they are, she sees that notion as a fiction. Written by {jhailey@hotmail.com} Stella is determined, courageous, vulgar, unfashionable...and all her daughter has. Through the trials of teenagehood, to the problems of adulthood, Stella will do anything for Jenny...ending in an selfless, unforgettable sacrifice. A struggling jazz musician makes a strange deal with a mobster in exchange for a break in the industry. 警(🦏)視庁(tīng )きっての暴(🦍)れん(🏁)坊(🌯)刑事が、拳銃片手に派(🅿)(pà(🐒)i )手な捜(sōu )査を開(kāi )始！　(🥄)痛(🎾)快バイオレンス・アク(〰)シ(➰)ョン！ 艾伦是来至警(jǐng )察世(🐢)家(⛑)(jiā )，父亲(qīn )已经退(tuì(👹) )休，兄(📠)(xiō(👠)ng )弟杰和(hé )巴瑞二人(🙅)，一是(🏪)摩(🎃)(mó )托骑警的队长，一是犯(😏)(fà(⛄)n )罪化验(yàn )室的化(huà )学家(🕤)。中(🥥)央市(shì )出现飞车党，半夜抢(🔂)劫(📍)市区，放火杀人，无恶不(bú(🤱) )作(⛓)。中(zhōng )央市警(jǐng )局展(🚰)开(kā(🕖)i )追(🚄)缉飞(fēi )车党行动，巴瑞负(🐡)责(⭕)采验罪犯留下(xià )的泥土(😥)(tǔ(🔶) )痕迹，在实验(yàn )室中工(gōng )作(👱)时发(fā )生爆炸，巴瑞被闪电(📎)击(📫)中而成为带(dài )有电(👉)能(né(🥤)ng )的(🤾)闪电(diàn )侠。飞(fēi )车党(😯)继(jì(➗) )续(📟)猖狂(kuáng )，杰受命担任特遣(🕕)(qiǎ(🥋)n )部队指挥，原来飞车党(dǎ(🗯)ng )头(🚩)子派(pài )克，过(guò )去也是(shì )警(😓)察(🌋)，对杰怀恨在心，于是杀了(🌽)杰(🔚)，巴瑞发挥超(chāo )能力(🗽)，终于(🤤)制(🍓)(zhì )服派克(kè )与飞车(chē )党(🛴)。 The island of Ambon in Indonesia, 1945. During the War, the number of Australian POWs on the island had dropped from 1100 to less than 300 due to abuses by their Japanese captors. Capt. Cooper is the chief prosecutor. In a mass grave, the bodies of 300 executed servicemen have been unearthed. Cooper assumes that the massacre was ordered by Baron Takahashi, Japanese commander on Ambon. But the one potential witness has gone mad and is due to be shipped back to Australia. No captured airmen were found alive on the island at all, not even the four-man crew of a reconnaissance plane shot down late in the War. Takahashi is returned to the island in the custody of an American officer, Maj. Beckett. But there is little evidence with which to prosecute the Baron. Cooper thinks he could make a case for the missing airmen if only their bodies could be located. And why does Maj. Beckett appear interested in not seeing Takahashi convicted? Cooper gets a break when Lt. Tanaka, a communications officer and a Christian, surrenders himself...