糊涂的爱电视剧

住在(🌇)法国加(🔰)(jiā )莱的巴(bā )尼在英国伦敦(dūn )工作，每(📵)天都(dō(🎎)u )要从欧(🏼)(ōu )洲大(🌵)陆跨越加(jiā )莱海峡去他的(de )办公室(shì(🕞) )。尽管他(👉)有了(le )妻(🚶)子露西(😕)，但(dàn )他(⤴)在伦(lún )敦还有2个情人(rén )，一个(gè )是新(🚆)交的(✊)年(💤)轻(qīng )女(🌷)广告管(💭)理(lǐ )人(rén )玛尔戈(gē )，还有一个GAY，也就是(🐩)正和(⛹)他(🤟)(tā )打得(📬)火(huǒ )热(⬆)的35岁的拍卖(mài )师马克。我们(men )的主人(ré(🍌)n )公巴(🐢)尼(🥊)调理这(🥜)(zhè )样的(🍂)生活还是有一套(tào )的吧？！直到(dào )有(💂)一天(tiā(🦌)n )，巴尼收(⬅)到了(le )玛(🙊)尔戈、(🐣)马克(kè )和妻子(zǐ )露西分别送(🗿)给(gěi )他(💇)的生日(🎆)礼物(wù(🅾) )，竟是(shì(😺) )这样的相同——到威尼斯的(de )东方快(⚾)(kuài )车(🐦)的(🏘)回程票(🖖)，而且是(🔒)(shì )同一日期！这(zhè )就要巴尼决(jué )定(dì(🤒)ng )他的(📌)选(🍷)(xuǎn )择了(✅)，他以为(⛱)(wéi )和露西同行或(huò )许能挽(wǎn )回他们(🤯)的婚(🚪)姻(📇)(yīn )。可问(😊)题是，马(🍬)克和(hé )玛尔戈假扮一(yī )对夫妇来到(👆)了巴尼(➕)和(hé )露(♉)西的家(🌚)，并(bìng )要(🐼)巴尼(ní )做出解释。面(miàn )对此情(⏹)此景，... Sure, it's a simple trifle in film history, if even that, and seeing Sangue di sbirro today is at best mildly entertaining. For although made in the heyday of the Italian crime genre this one is no zenith. Dan Caputo (George Eastman of dubious Antropophagus-fame) arrives in New York to avenge the death of his father, a cop involved with the mafia. Dan clears up the murder (and kills what seem like some 30 people) with help of local mob boss Duke (Jack Palance) and then flies back to wherever he came from. Possibly there is a bit more to the story, but the script is so confused so there is little point in trying to describe the goings-on. Suffice to say there is a little romance, brief scenes childhood reminiscing, and a helluva lot of shoot outs. Some of which are quite exiting in a cheapo euro trash way. The highlight of the film is definitely the opening scene at the airport when Dan arrives during some sort of terrorist attack simply to shoot his way through it. All in all it's not a badly done revenge film technically, and it's cliché(🍄)d in the best sense of the word, but it suffers from some seriously dragging scenes, and a poorly executed whodunit sub plot, which slows the whole thing down. Only recommended for the die-hard fan of Italian 70's crime films. Evie's co-workers at the uniform shirt factory, and her almost-fiancée's inability to kiss, inspire her to slip a letter into a size sixteen-and-a-half shirt for some anonymous soldier. It's received by "Wolf" Larson, who immediately throws it away, but his sensitive, dreaming--and short--buddy John McPherson snags it, and begins a correspondence with Evie, pretending to be Wolf. But things get complicated when Evie wants to meet her tall, handsome soldier. And even more complicated when Wolf sees Evie and likes what he sees. The Last Desperate Hours benefits immensely from two great leading performances; chiefly Antonio Sabato in the lead role. Sabato fits his character like a glove and comes across excellently as the detestable sleazebag at the centre of the film. He gets great backup from Pier Paolo Capponi as the lead cop on the case. The atmosphere created by Giorgio Stegani is just great and he manages to create an impression of Milan that is as downtrodden and corrupt as the lead character. The film features the Spaghetti style that most genre fans will appreciate - the score by Gianni Marchetti is truly memorable. The plot flows quickly throughout and none of the ninety minute running time is wasted. The director ensures that we always know the central figure is on a deadline and he keeps things interesting by keeping up the cat and mouse game between cop and criminal, as well as implementing a good few murder scenes - one involving a medical saw is a particular highlight! It all boils down to a surprising, yet fitting ending and overall this crime flick is one of the best Eurocrime entries that I've seen and is well worth the trouble of tracking down! 1933年(niá(💐)n )，犹太人(🎓)梅辛(xī(😔)n )因不堪纳粹迫(pò )害，从(cóng )德国逃到法(💘)国(guó(🈹) )，在(🍃)法国巴(🛋)黎(lí )，她(🤫)认(rèn )识了女孩费丽(lì )安，并成为了好(😚)朋友(🈚)(yǒ(🔃)u ) Controversial singer-songwriter Franco Califano takes his tough, no nonsense persona to the big screen in one of his few starring roles as the man with the Gardenia, a restaurant owner who is not afraid to stand up to the mob. It's little wonder that every woman in the film swoons and sighs at the sight of him and all men, even the baddies, are awestruck at his appearance. Not that they show him constant respecto, if that were the case we wouldn't have much of a picture. Evie's co-workers at the uniform shirt factory, and her almost-fiancée's inability to kiss, inspire her to slip a letter into a size sixteen-and-a-half shirt for some anonymous soldier. It's received by "Wolf" Larson, who immediately throws it away, but his sensitive, dreaming--and short--buddy John McPherson snags it, and begins a correspondence with Evie, pretending to be Wolf. But things get complicated when Evie wants to meet her tall, handsome soldier. And even more complicated when Wolf sees Evie and likes what he sees.