奥德修斯第一季

一次偶然中(🎩)，个(gè )性叛逆的(🗾)小琦（小依 饰）遇见(🌨)了(le )英俊帅气的(♋)吉(🗿)他(📮)手苏格（钟宇泽(🥖) 饰），很快，苏格的(⚫)(de )桀(💓)骜不驯和与众(zhò(🦀)ng )不同很快就吸引(🥔)(yǐ(🍼)n )了(⚪)小琦，小琦决(jué(📣) )定不顾一切和苏(sū )格(😛)在一起。然而(é(📅)r )，苏格变幻莫测的倾诉(🌃)和阴晴不定的(🐭)(de )性(🛷)格(✋)让他和小琦(qí )之(⛲)间的恋情充满(mǎ(🎉)n )了(⛰)波(🎶)折，最终，精辟历(🤣)经的苏格(gé )选择了离(🚎)开。 一(yī )次意外(🧒)让年幼的(de )爱子（崔江(🚍)姬 饰(shì )）不仅(💡)失(🙈)去(🎰)了爸爸，还失去了(🏥)妈妈（金英爱 饰(👃)）(📖)对她(tā )的疼爱。妈(🐤)妈对(duì )稍有残疾(👑)的(🍖)哥(👟)哥(gē )的偏爱使(🚶)得中学(xué )时代的爱子(🚘)性格(gé )叛逆古(😪)怪，不过(guò )这位天才少(🍁)女以她出众的(🌫)文(🗡)笔(🎎)还是赢(yíng )得了很(🥢)多人的喜(xǐ )爱。成(😎)年(😁)后(🍦)的爱(ài )子只身(🛬)在首尔打(dǎ )拼，虽然已(👟)经29岁(suì )了，但她(🏡)的性格(gé )却丝毫没有(📢)改变(biàn )。没日没(🏒)夜(🛳)的(🖥)笔(bǐ )耕只能维系(🦇)基本的生活，与妈(🎤)妈(💎)的关(guān )系则更让(🐪)爱子头(tóu )痛。此时(🐧)正(🌙)处(🎹)于(yú )她事业发(🏆)展的关(guān )键时期，可是(💲)妈(mā )妈的旧疾(🌺)偏偏这(zhè )时复发，无能(❔)的(de )哥哥完全不(♍)能(♟)指(🤪)望，爱子只能自己(🌛)来(lái )照顾妈妈。这(➖)对(❄)(duì(😽) )冤家母女如今(🍇)被(bèi )迫形影不离，自(zì(❓) )然冲突不断，可(🐤)(kě )是母女俩居然习(xí(🏥) )惯了这种对于(🌁)彼(🍚)(bǐ(🗣) )此依赖。 Two friends grow up together in the Sicily of the '50s. Two different destiny, two different way of life. Could their friendship survive to the mafia shadow? 本片一(yī(🎗) )开始便是「我」(🤐)在(🌳)家中面对镜头，说(🔂)(shuō )出自己得悉在(🏯)爱(⛲)(à(🎅)i )滋病测试中验(⛳)出(chū )阳性反应，政府(fǔ(🎈) )迅即赔了二十(🍯)一(yī )万，他花钱买了(le )录(🚢)像器材要纪录(💙)(lù(👀) )有(🏸)限的生命！整部片(🏭)是以黑色幽默手(🕔)(shǒ(💫)u )法拍摄「我」的(🅿)(de )死亡实录。阿成(ché(🔳)ng )来港(📓)十年，任杂(zá )工(📯)，勤恳但收入(rù )微薄，老(🕠)板同事(shì )皆看(🐵)不起(🤥)他。大(dà )陆来的女(🏄)友因他(tā )穷而分(📑)手(🚗)，做了妓 女。他自卑(🕠)，没朋(péng )友，唯一嗜(🚡)好(🆚)是(🔪)(shì )看录像带，重(💳)复(fù )看罗拔狄尼路的(😰)(de )《的士司机》，潜意(📄)识也想成为(wéi )一位暴(⛲)力英雄。房子由(📲)五(🦂)六(🔜)户人家分租，大多(🐍)数是新(xīn )移民。每(🔓)天(🆕)进出(chū )，从未碰见(⚡)任何(hé )邻居，只“听(🎁)见(jià(🙋)n )”他们的存在:孩(🎁)(hái )子哭声、夫妇吵(chǎ(💵)o )架、电视声…(⛏)…他(🔔)在社会压力下病(🍕)情恶化，终而爆发(🙎)，成(🍭)为极度危险(xiǎn )人(🕕)物，处处想利(lì )用(💡)自(Ⓜ)己(👖)的爱滋病(bìng )毒(🦈)去“报仇”.... 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 clichéd 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. Daffy is looking forward to celebrate Easter but his mysterious animator decides to make very bad things with the three completely new episodes. Gary is an architect. He is an orderly, timed and mild mannered person. Most enjoyable outing from Mr Lenzi and whilst giallo-esquire is really quite a mixed bag. Starting off as a bit of a hippy drippy affair with a young uninhibited couple using their bodies and their guile to get a free holiday, this turns into something much darker. There is real suspense including a splendid Hitchcockian scene in an aviary, lots of nudity and some pretty nasty moments. Irene Papas ( 'Zorba the Greek' and 'Don't Torture a Duckling') lends considerable gravitas with her impressive performance as the mature woman with something of a problem to sort out. Ray Lovelock is appealing as the handsome young man who likes fast cars and faster women but it is the lovely 16 year old Ornella Muti who is always catching the eye. Apparently the almost too perfect nude shots are of a body double but we still get plenty of up the shorts shots as she bends obligingly forward. All three are a great asset and with a decent script and Lenzi's constant inventiveness, this is a fine piece of exploitation cinema.