小丑回魂百度云剧情介绍
Country-Western Wildcats! Marsha Jordan – the first real star of Sexploitation – is Sweet Georgia, the sex-crazed nympho wife of rancher Big T. Unfortunately, because Big T is an ugly, abusive drunk, Georgia looks for her lovin’ elsewhere –(✨) starting with Cal, the stud ranchhand, then moving on to Virginia, Big T’(🛹)s daughter, who spends her days riding her horsey in the nude. Of course, since Georgia’s only Virgina’s stepmom, the two think a little down-home girl-girl action is perfectly fine, especially around a romantic campfire. But when Georgia makes it with dumb ol’ Leroy, everything gets violent. Yup, just when you think you’ve got this film figured out, an accidental death somehow escalates into one grisly murder after another. Plus: See what happens when a country singer meets a Country Hooker as Dave and his pal Billy B get detoured from a gig at a country-western bar by sexy hitchhikers Jen and Su (played by cinema sex kittens Sandy Dempsey and the legendary Rene Bond). The girls, however, are actually in the employ of sleazy Mike, The Singing Pimp, who wants the boys waylaid so he can continu polluting the bar with his prostitution racket and rotten music. But when Jen and Su end up falling for the two dumb lugs, Mike adds “strangler” to his already unsavory resume’(🐚)…(🔭). So saddle up and ride with these two Drive-In classicks direct from the vaults of producer Harry Novak (Country Cuzzins) featuring plenty of sex, violence, and godawful singing!
In the wake of a Supreme Court decision to outlaw the death penalty, California passes an initiative that designates San Bruno island as a dumping spot for first-degree murder convicts, free to do what they like except leave. The main camp of convicts is controlled by the tyrannical Bobby, who rules with an iron hand, and the women are used as sex slaves. A.J. and a group of more free-minded murderers have escaped and gone into hiding. When A.J. and his men liberate the women from Bobby's custody, tensions mount to an all-out confrontation for control of the island.
讲述英籍(jí(🐔) )职(😱)业杀手受聘(🆘)暗(⚫)杀(shā )法国总(🧗)(zǒ(🚱)ng )统戴高乐(lè(🌬) )，而(🔥)法国警方亦(🖐)从(⛲)(cóng )蛛丝马(mǎ(🙎) )迹(🐕)中获知(zhī )了(🐽)他(🍎)的(de )阴谋，于是(🎄)(shì )全力阻(zǔ )止(🐦)杀手的(de )行动。
杰(🗜)拉德·卡(kǎ )萨(⚪)诺瓦(wǎ )是，所有(🚄)的富饶(ráo )美丽(💚)的女人(rén )打电话(huà )的时候，他们需(xū )要多一点那么丈夫(fū )给他们的人
An architect and his wife are flying from London to L.A. with an altar from an ancient abbey secured in the plane's cargo hold. Also aboard the flight are Buddy Ebsen as a pushy millionaire, William Shatner as a drunken, cynical ex-priest, Tammy Grimes as a nutcase, and Chuck Connors as the lantern-jawed pilot. Crew and passengers come into jeopardy when an invisible demon escapes from the altar, and threatens the plane in an effort to destroy the architect's wife.
Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it.