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After her young son accidentally drowns, a woman has a breakdown and is finally placed in a mental hospital. After her release, her husband takes her for a weekend at a secluded country mansion, hoping to help her recover. However, things at the mansion aren't quite what they seem to be, the couple begin to feel an uneasy and oppressive presence, and the mother starts to see things that may, or may not, be hallucinations.
A nurse is hired to take care of a mean, cantankerous woman. It turns out that the nurse and her boyfriend are after the woman's fortune. When the woman turns up dead in a bathtub full of blood the couple begin to search for the money, but they soon begin to suspect that the woman isn't really dead - or her ghost has come back to avenge her.
While some Italian crime films (particularly post-1977 ones) are just mindless violence (particularly violence against women), many pre-1977 ones are serious commentary on corruption and the justice system in Italy...and by extension to other Western countries. THE BIG FAMILY is such a film. The Mob is in charge at the film's beginning, the Mob is in charge at the film's end. Anyone who challenges it is killed or somehow taken out of the picture. A police inspector or prosecutor who is making progress may suddenly get the offer of a significant promotion...to another part of the country. Every branch of the government...and the church...is compromised. American businessman Richard Conte can come to Sicily hoping to do some construction projects and thinking that his friendship with the Don back in New York will help him here and that he doesn't have to play by the local rules. An honest cop works hard and makes countless sacrifices, and many good people die because he keeps on his quest. Eventually, he nabs the top man...and it turns out he has achieved nothing and he is back at square one. Even the top man is expendable to the overall survival of the big family. I was impressed by this film when I saw it fifteen years ago, and I'm still impressed with it today. It has enough action to satisfy any fan of 1970's Italian crime films, one of the most exciting genres in film history, but it also has a sobering message, one that is relevant to anyone watching the film anywhere. Although both CROSS CURRENT and GREAT TREASURE HUNT have their moments, THE BIG FAMILY is probably Tonino Ricci's most successful film as a director (I haven't seen his recent family films, although I especially want to see the Buck film with John Savage, nor have I seen the shark film with Treat Williams). Highly recommended to fans of the genre and those willing to see the value in a dubbed genre film.
来自(🆘)(zì )南(💠)美(měi )的马克斯(🏏)·伯雷表(biǎo )面上(shàng )是(🍗)个(gè(🎚) )海上贸易的商人，暗(à(🕧)n )中却(⏩)(què )从事军火、(🍔)毒品、(😧)绑架(jià )甚至(zhì(🎌) )强迫(😚)(pò )卖淫等罪恶勾当。某(👵)(mǒu )国(🦏)接(jiē )连派出四(👠)名特工(❌)前往他(tā )所落(🕍)(luò )脚(🧀)的伊朗首都德黑兰，却(⏸)(què )无(✖)一(yī(✍) )例外，皆遭杀害。为(💫)避(bì )免公(gōng )开(❔)行动(🎆)引起国际纠纷，该(gāi )国(🐝)聘(pì(➡)n )请神秘的杀手“骷(kū )髅(🧜)13”（高(🛠)(gāo )仓健 饰）前(👮)去刺杀马(mǎ )克斯(sī )。骷(👹)(kū )髅(💞)13本名Duke·东乡，是(shì )一名(🎾)(míng )混(🚶)血(xuè )儿。经过慎(🥂)重考虑(🎌)，东乡(xiāng )接下这(🔟)个任(🕑)务，并和该(gāi )国女(nǚ )特(😄)工(gō(🍫)ng )凯瑟琳假扮夫(➿)妻潜入(🎹)(rù )伊朗(lǎng )。他的(🥫)行踪(♋)不久便为马(mǎ )克斯(sī(💗) )的团(Ⓜ)伙所得知，对方相继(jì(🚋) )派出(chū )瓦尔特(📼)、西(🔭)蒙、道格拉(lā )斯等(dě(🆖)ng )高手(📊)前来阻挠。高手对决(jué(🔙) )接连(🚂)(lián )展开……
清(😺)兵火烧(shāo )少林(lín )，寺(sì(👱) )中人(🕐)员伤亡惨重，洪(hóng )熙官(🚊)(guān )（(👸)陈(chén )观泰 饰）(👍)虽然幸(🏴)免(miǎn )于难(nán )但(🌖)是(shì(🧖) )身受重伤，他决定暂(zà(🏻)n )时偃(🌉)(yǎn )旗息鼓待到(🀄)他日能(🕹)够东(dōng )山再(zà(👜)i )起，哪(💍)知道逃亡的一路上(shà(😀)ng )屡屡(🎷)(lǚ )遭到官兵的追杀。某(🏰)日(rì )，洪(hóng )熙官(🐅)正在(🦀)和追捕他的官兵(bīng )周(😨)旋(xuá(📃)n )，陷入鏖战之中，巧得(dé(🚙) )方世(🌎)(shì )玉（傅声 饰(🎆)）路过，方世(shì )玉误(wù(📽) )以为(💌)洪熙官是作奸(jiān )犯科(💒)(kē )之(📫)徒(tú )，于是帮助(🔱)官兵将(⏫)他(tā )五花(huā )大(🌠)绑(bǎ(🙁)ng )交至官府。
女子高(gāo )校(📑)生(shē(🚍)ng )のＳＥＸと暴(🕊)力を描(🍍)きながら“番格(🛸)”にス(📏)ポットをあてたセミ(⤴)・ド(🎲)キュメンタリー。脚本(📪)は「不良少女(🚱) 野(😚)(yě )良猫(māo )の性春」の(💉)宮下(🥑)教雄、監(jiān )督は「セ(🔑)ック(👊)ス・ライダー(🛅) 傷(shāng )だらけの(👡)欲情(🍂)」の(⏩)蔵原惟(wéi )二、撮影は(✉)「(秘(🤑))極楽紅(hóng )弁天(👆)(tiān )」の(🈚)森勝がそれぞ(📠)れ担(💳)当(dāng )。
羅(luó )馬、張揚合(🅱)導的(🏎)《阿牛(niú )入城(ché(💼)ng )記》以阿(💯)牛（野峰）這(🦗)(zhè )個(🌻)(gè )大鄉(xiāng )里來到香港(🚁)，目睹(👂)香港(gǎng )低下(xià )層社(shè(😞) )會的光怪陸離(🍆)，有悲(💮)(bēi )有喜(xǐ )，有血有淚。阿(✴)牛生(🌤)性(xìng )戇直(zhí )常常被人(🥃)利用(♍)，周大叔（王沙(🤴)(shā )）帶他做賭檔(🐦)「睇(🎩)水」(🏅)，他(tā )以為是看著一桶(🆕)水，大(👃)出(chū )洋相(xiàng )。阿(🎇)牛做過(🍿)很多工(gōng )作，不(☔)時(shí(🧡) )被壞份子利用如幫人(🎻)(rén )「(🦖)捉(zhuō )黃雞(jī )」(🔄)勒索、(👝)到城寨做(zuò )「(🛋)阿(ā(😓) )牛艷(yàn )舞」等，但阿牛(🥢)的(de )天(💃)(tiān )真純(chún )樸仍得到阿(🈯)花的喜愛，反映(🔔)(yìng )傳(💶)統(tǒng )社會的善良信念(🏩)：天(🎎)(tiān )無絕(jué )人之路。後來(🤾)，阿牛(🐁)到(dào )碼頭(tóu )做(📆)苦力，工人罷工，他(💘)繼(jì(🦇) )績工(🤬)(gōng )作，竟然被打，阿牛自(🐤)(zì )衛(🦏)釀(niàng )成大騷動(🕡)，被拉入(⏮)獄。結(jié )局無(wú(🛍) )疑令(🔶)人悲哀，卻反(fǎn )映編(biā(➿)n )導的(🏘)(de )聰明之處，留下(💳)尾巴(bā(🕘) )，讓(ràng )關心(xīn )阿(🌶)牛命(🌬)運的觀眾期(qī )待下(xià(🤢) )集《阿(💫)牛出獄記》登場(chǎng )。
Archana, an educated daughter of retired principal loves Professor Sukhesh. This love born out of intellectual impact is supported by the fond hopes of her father that leads to matrimonial alliance. Archana's mother is of a different class with materialistic notions of life and she too unwillingly gives her consent to the marriage. Seeds of marital love have not yet flowered into sweet joys of wedlock when whims and ego's of Archana and Sukhesh start clashing. Though a dutiful loving wife of a sweet husband, Archana is very much the daughter of her mother, who with all good intentions intervenes in the day to day life of the couple. Understanding leads to misunderstandings and the lovers start misinterpreting each other's sentiments. This ultimately leads to break in marriage - hence the ultimate- eventual separation. Kora Kagaz answers the struggle of intellectual lovers who find it difficult to enjoy marital bliss. The film is a lesson in both love and marriage.
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.