Bugsy Malone希(👛)望一举(jǔ )击垮纽约的(de )黑帮，自己(jǐ )号令(👃)全(🖊)城(📮)，与Fat Sam及Dandy Dan展开一幕幕的枪战...
IMDB:3.8/10 (85 votes)
由(yóu )布莱恩(🎂)(ē(😋)n )·(🎄)德(dé )·帕尔(ěr )马（Brian De Palma）指导(dǎo )， 保罗·施(🐂)(shī(💶) )拉(📶)德（Paul Schrader）编(biān )剧的《迷情(qíng )记》（Obsession / 1976）是(shì )一(🏻)部(🤮)文艺气(qì )息相当浓厚(hòu )的悬疑片。帕尔(🚻)马(🚆)导(🔗)演(yǎn )一反常态，并(bìng )没有在影片(piàn )中过(👑)分(⚓)(fèn )卖弄血腥暴(bào )力，而是以(yǐ )细腻的手(🍕)法(🐛)(fǎ(😺) )把一个奇异(yì )的故事拍得(dé )如梦如幻(😁)，韵(🍁)味(👇)十足。
虽然此片故(gù )事电影和电(diàn )视(🐱)已(⏹)拍(📏)过多次，但编导李(lǐ )翰祥在(zài )清宫(gōng )戏(🎸)的(👘)场(🥈)(chǎng )面铺陈上别(bié )有不同，而(ér )且情节上(🐤)也(🦆)(yě )有改动，所(suǒ )以还是较有(yǒu )可观的。如(😤)(rú(🙊) )西(🤚)太后反对(duì )维新方面，改为遗老为(wéi )保(🏴)全(🎧)功名和荣(róng )华富贵不惜(xī )长跪不(bú )起(🎦)，加(😴)重(🍠)她(tā )的责任感。光绪幽禁瀛(yíng )台的出走(🥑)之(🏻)(zhī(🏌) )夜，西太后(hòu )又带皇后夜(yè )访光绪，并(🎄)(bì(🛡)ng )有(🙆)意还政于(yú )光绪。这些(xiē )细节，使西太后(🛄)更(🔲)有(😖)人性(xìng )的真实(shí )感情。但描(miáo )写六君子(🗃)的(😐)(de )戏时过于简(jiǎn )略，是影片(piàn )的一大失误(🚅)(wù(🧘) )。
Paramount Pictures shelved this Italian action film (which is heavy on the drama) that features John Saxon in a suporting role as a cop bend on arresting a blind mafia boss Lee J. Cobb. The film too busy focus on the bank robbers and a newspaper guy Renzo Palmer instead of Saxon's plot which is a misfire to all Saxon fans. The photography and the location is wonderful, but the plot is very extremely slow. Not recommended for someone looking for action films.
Roger Moore and Stacey Keach star in this Italian-American co-production, and try to be the Martin and Lewis of 70's crime exploitation cinema. The rigor mortis of Roger Moore was never more noticeable as it is here, playing the straight man next to the Keach's easygoing rouge. It's a rather stale exploitation film, with the typical one liners, car chases, shoot outs, and gratuitously bad dubbing of the Italian actors. The film does have one great highlight when Keach takes a gangster's car for a test drive, and in hair-raising fashion, wrecks it through the streets of San Francisco. Unfortunately, it all doesn't work- the comedy isn't funny enough, neither Keach or Moore are particularly convincing (especially Moore, who is as dry as a desert), the violence and stuntwork is middling, the story isn't very engaging, and the ending is painfully banal. There may be just enough `so bad it's good' work that 70's exploitation fans may be entertained, but no one would call it great.