好的电影

杉(🚩)(shān )虎之助(🤑)は御(yù )家(🕳)人の総領(lǐng )として生まれた(😙)が、十四(💘)歳(suì )の時(🥅)に家出(chū(👍) )、池本茂(🎙)兵(🏼)(bīng )衛に捨(🚭)われ、無外流に(🦊)似た実戦的(🍈)な剣(jiàn )術(🕕)使いとな(🏒)った。八年(🔷)(nián )後、江(🛎)戸に戻った(🕤)虎之(zhī(📓) )助は屈強(🤯)の勤番侍(♋)に(🎙)からまれ(🥧)ている叔(💊)(shū )父の旗(😺)本・山口金五郎(láng )を偶然救(💤)ってやる(🥪)。その時(shí(🏜) )の、侍数(🚵)人(🔲)(rén )を川の(🕗)中に叩き(🌆)込んだ虎之助の早(zǎo )業に、(👼)幼年(nián )時(🏧)代、虎之(🍠)助の親代(🤪)りだった(💝)金(🛳)五郎は目(🔵)を見張った。また(⛱)もう一人虎(😫)之助の働(🥜)きに瞠目(🐲)(mù )した青(⛅)年武(wǔ )士(🏰)がいた。門弟(👢)千余人(💰)(rén )をかか(📸)える江戸屈(🚚)指の心形(🌲)刀流伊庭(📁)道(dào )場の(✊)後継ぎ、伊庭八郎(láng )である(🐠)。時(shí )に、(💈)国中は勤(📃)王、佐幕の(🍷)抗(kàng )争が(🎓)続き、京(🔔)都では近(jìn )藤勇、沖田(tián )総(🚋)司ら新選(🥍)(xuǎn )組が池(👕)田屋(wū )騒(💙)動で勤王の(🐼)志士を大(🌌)量殺(shā )戮した頃である。虎之(📔)(zhī )助の腕(👋)を見(jiàn )込(🏽)んだ八郎(🏭)は、自分(🏋)の友人(rén )が(🍤)隊長を(🐫)している(🔏)洛中(zhōng )見廻(✂)り組に力(🍨)を借して(⚾)くれ、と(🗓)熱(rè )心に(🔥)口説いた。その夜、(🚲)虎(hǔ )之助(🆖)は恩師(shī(👿) )茂兵衛の使(🍟)(shǐ )いの僧(🚚)から、礼(🌡)子という女(nǚ )を連れて京(jī(🎇)ng )都に来い(🖊)との伝言(🆒)を受(shòu )け(🎁)た。品川(chuān )宿(⏺)で会った(🌏)礼子は男装の美女だった。道(🌖)中、箱根(👣)(gēn )で二人(🐭)は薩(sà )摩(🔓)藩々士に(🤣)襲われるが(🌥)、虎之(🖍)助は全員(🛃)(yuán )斬り伏せ(🧕)る。以来、(🚶)若(ruò )い二(🕡)人の間(jiā(🙋)n )に愛情が(🙄)芽(yá )生えた。京(jīng )の(🥑)町は騒然(💌)としてい(🦂)た。その中で(⚡)虎之(zhī )助(🔭)の目を惹(🕘)(rě )く使い手がいた。薩摩の中(🌴)(zhōng )村半次(😆)郎である(📑)。その攻撃(🤺)一途の示現(✊)流も迫(pò(📴) )力があったが、半次郎の情(😃)婦の法秀(😨)尼(ní )とい(🏐)う尼僧(sē(🚱)ng )は、虎之(🤽)助(zhù )が江戸(😟)にいる時、やく(📧)ざの手から(🌬)救ったお(📕)秀だった(❤)のだ。数(shù(🧕) )日後、虎(🚎)之(zhī )助は乞食に身(📊)をやつし(🐋)た茂兵衛(🏤)と再会(huì )し(🔎)た。茂兵(bī(📻)ng )衛は、自(🔪)分(fèn )は幕府の密(mì )偵で薩摩(🔗)藩を探索(🌑)する身で(🤙)あること(🍝)を明かし、(🛥)「お前だ(🚉)けは今の時の流(liú )れに巻き(🌬)込(rù )まれ(🤑)ず、次の(💴)世の中を(💖)見つめて(🔶)くれ」と諭(🖨)すのだった。礼子(❄)(zǐ )も親の代(🐄)からの公(😰)儀隠密で(👇)、女なが(🧖)らに幕府(🍨)の為(wéi )に身を挺し(🤮)てきた礼(⏰)子(zǐ )の話(🙊)を聞き、虎(👨)之助の血(😞)は騒いだ(💕)。やがて、上洛(luò )して来た八(🌑)(bā )郎にす(🍣)すめられ(💝)て見廻り(🍭)組(zǔ )に参加(🆓)した虎之(🍏)助は、副隊長格として勤皇(🎀)の士を斬(🏖)りまくっ(🖥)た。杉虎の(🎧)異名は京(♌)の都にとど(⛓)ろくが、心は空(💃)虚感にうち(🙍)ひしがら(⏳)れる日々(🏮)だった。祇(🚄)園祭の夜(❎)、茂兵衛(wèi )が薩摩(🤨)藩士(shì )に(🍄)襲われ死(🎩)(sǐ )んだ。仇、(🌡)東郷直二(♓)を斬った(🙌)虎之助に対する茂兵(bīng )衛の(🤟)いまわの(🈺)言葉は「(🏫)礼子と共(🍜)に江戸へ帰(🌋)れ、無(wú(⛸) )駄死するな」だった。鳥羽伏(💣)見の戦い(😱)で、八(bā(🛂) )郎、沖田(🥈)総司ら幕(♌)軍は、半(bà(📀)n )次郎らの官(guān )軍(🐦)に破れた。そ(🛵)の頃虎(hǔ(👭) )之助は、(🌗)師茂兵衛(🌑)の遺志を(🆎)守り、礼子(zǐ )と二(🎚)人で江(jiā(😩)ng )戸で愛の(😺)日(rì )を送っ(🔴)ていた。京(🥪)から逃れ(🔳)て来た沖田(tián )総司が胸の病(🏓)で死んだ(🔰)。数日後、(🐳)八郎が虎(😅)之(zhī )助を訪(💸)れ、上野(🗝)の彰義隊に加わり幕臣(chén )と(🏢)して最後(🚥)(hòu )の一戦(⏮)を交(jiāo )え(🎌)よう、と(✂)誘った。虎之(🏧)助は断ったが、(💙)それは上(shà(💏)ng )野で斬り(🔳)死(sǐ )にす(❓)るより辛(🐃)いことだ(🛬)った。上野の戦(zhàn )い(🏃)は幕臣側(🍴)(cè )の惨敗(😇)に終(zhōng )った(🕋)。虎之(zhī )助(💦)と、八郎(🍎)(láng )の義妹で八(bā )郎とは相思(🚔)相愛(ài )の(㊙)つやが、(👉)上野の山(🐶)に八郎を求(🤣)めて彷徨(🧟)うが生死不明だった。数日後(🌅)、彰義隊(🥇)の残(cán )党(😱)狩りでご(😩)った返す(🐹)町(dīng )中で、(💒)虎之(zhī )助は片腕(🥄)を失った八(🔳)郎を発(fā(♓) )見した。八(🍶)(bā )郎は虎(🐃)之助(zhù )に(🏜)、柳生新(xīn )陰流--本(🦑)心流を受(😀)け継ぐ、(🐲)心(xīn )形刀流(🙂)の奥(ào )儀(😦)である二(🍱)(èr )十四の組太(tài )刀を伝えた(🗄)後、再起(😨)をはかる(💮)のだ、と(🐫)函館へ去っ(👛)た。そんな(😬)ある日、残(cán )党狩りを続(xù(🎵) )ける薩摩(🦂)藩士村田(🤒)以喜蔵が(🐈)、虎之助(🚇)の留守を襲(💇)い礼子を惨殺(shā(😷) )した。怒り狂(😯)った虎之(🏹)助は、官(💫)軍の一(yī(🦈) )隊を襲い(🚂)、以喜蔵を斬(zhǎn )っ(🌿)た。明治(zhì(📇) )六年。虎之(🐆)助のところ(🗽)へ桐(tóng )野(✍)利秋と名(🏳)(míng )を替え陸軍(jun1 )少将となった(🍝)半次郎が(🗝)、遊びに(💈)来(lái )るよ(🧖)うになった(📸)。全てが恩(🛸)(ēn )讐の彼方に流れ、二人(ré(😘)n )の間に友(🥁)情(qíng )が復(⛏)活したか(🌔)のように(👩)見えたが、(⛔)茂兵(bīng )衛殺害の(🥞)真(zhēn )犯人が(🖱)実は半次(🤠)郎であっ(🅱)た、と知(🎊)った虎之(🗳)助は、西南戦争勃(🕜)(bó )発で、(🕵)鹿児(ér )島(🏀)にいる西(xī(👁) )郷隆盛に(♌)従った半(🎶)次郎を追(zhuī )って、鹿児(ér )島(🐓)へ向かっ(🥑)た。殺気を(🐧)はらんで(😂)二(èr )人は対(㊗)決したが(⬛)、西郷の仲(zhòng )裁と、互いの(🌥)憎悪が自(🚩)(zì )然に消(💏)えていた(⭕)こともあ(🆔)って、どち(🤶)らからともなく(🤺)刀を捨てた(🧐)。西南戦(zhà(🚹)n )争は終っ(🥋)た。東京の(💆)とある橋(🤞)の上で、流れる川(🔼)を眺める(🏔)虎之(zhī )助(😬)の耳に号(hà(🥒)o )外の鈴の(👑)音(yīn )--号外(🔮)には西郷が自刃、半次(cì )郎(🎭)戦死、と(🎮)の記があ(🏆)った。 The history of the film is based on the renewal of an old friendship happening in unforeseen and strange circumstances. Seyed (Behrooz Vousoughi) is a drug addict working small jobs in a theatre to pay for his heavy addiction. One day he is visited by an old friend, Ghodrat (Faramarz Gharibian), for whom he was a role model and protector when they were teenagers. Ghodrat has just been shot by the police when an armed robbery went wrong and is now looking for a safe place to lay low for a while. Hence, he comes to stay with the only person that he could trust, Seyed. However, what he sees is miles away from the Seyed that he knew and had in mind. Although they are both happy to find each other after so many years, Ghodrat is completely shocked to see Seyed, once the ruler of the high school yards and neighbourhoods, to have become a complete and utterly useless heavy drug user living in a lowly state of physical and social being. In 1830's England, young medical student Victor Frankenstein (Leonard Whiting), following the drowning death of his beloved brother, bitterly renounces God and vows to find the secret to creating life himself. He crosses paths with the eccentric Dr. Henry Clerval (David McCallum) who shares his quest and takes the younger Victor under his wing. When experiments in reanimating insects and a severed human arm succeed, the two prepare to bring to life a man whom they have assembled from body parts of victims of a mining accident. On the eve of their attempt, Henry discovers that the process will reverse itself and dies from heart failure before he can sufficiently warn Victor. Committed to carrying on his late friend's work, Victor forges ahead and brings to life a creature of incredible beauty and innocence (Michael Sarrazin). The two develop a close, affectionate relationship and Victor looks forward to presenting his creation to society as "the new Adam." Inevitably, the flaw in Clerval's procedure results in the grotesque distortion of the Creature's appearance, causing Victor to callously reject him. The Creature attempts suicide but to his dismay finds he can't be killed. He leaps from the White Cliffs of Dover, and Victor assumes he's seen the last of his bungled handiwork. A grind-house thriller offering sex adultery violence brutality and deaths. When Alices's (Francoise Darc) husband Allan (Alain Mayniel) flies to San Diego for a business meeting Alice quickly invites her illicit lover Sam (Alex Chapuis) over to her LA home for a sexual tryst. With his business meeting cut short Allan decides to fly back home earlier than scheduled. His sudden return sees him catching his wife and her illicit lover having sex in the shower. Violent outbursts ensue resulting in the death of Allan while Sam is knocked into a coma. Things get worse when a couple of hippies calling themselves Catman and Catwoman and brandishing firearms break into Alices home. Even amongst exploitation junkies "Ricco, the Mean Machine" doesn't get a lot of attention and that's a shame because it's a very sadistic, effective and all around excellent Italian Crime movie with lots of nudity. Ricco (Christopher Mitchum) is out to get his revenge on the crime lord that killed his father with the help of the very sexy Rosa (Melisa Longo). He takes each of Vito's (Arthur Kennedy) men down one by one, bringing him closer and closer to his prize. A young model and her petty thief boyfriend find their way through the English fog to a backwoods manor in hopes of looting it. What they find instead is murder, and when the model attempts to find the house again, her efforts come to naught. A widow invites a number of guests to stay at her mansion. She reveals that she knows that one of the group killed her husband. Soon they too are being murdered one by one. Giulio Borsi (Marcello Mastroianni), a reactionary pharmaceuticals executive, has just set off for a weekend with his young mistress (Carole André) when the two are taken hostage at a gas station by three anarchists. Hunted by the police and transformed into media stars by the press, the trio escapes with their hostages to an isolated villa. For a brief moment, it seems as if class contradictions can be overcome, but then there is a showdown between the authorities and the far-left outlaws. Dino Risi’(🤺)s darkest political satire was loosely based on a true story and anticipated the armed struggles between the Brigate Rosse and state power. It is also a clairvoyant account of the increasingly sensationalist and bloodthirsty media. At times, it almost seems like a model for the Gladbeck hostage crisis of 1988. Carmen Suite is a one-act ballet created in 1967 by Cuban choreographer Alberto Alonso to music by Russian composer Rodion Shchedrin. The premiere took place on 20 April 1967 at the Bolshoi Theatre, Moscow. The music, taken from the opera Carmen by Georges Bizet and arranged for strings and percussion, is not a 19th-century pastiche but rather "a creative meeting of the minds," as Shchedrin put it, with Bizet's melodies reclothed in a variety of fresh instrumental colors (including the frequent use of percussion), set to new rhythms and often phrased with a great deal of sly wit. Initially banned by the Soviet hierarchy as "disrespectful" to the opera for precisely these qualities, the ballet has since become Shchedrin's best-known work and has remained popular in the West for what reviewer James Sanderson calls "an iconoclastic but highly entertaining retelling of Bizet's opera."