腾讯动漫论坛

门(⏮)罗是(🎮)好(hǎo )莱坞最大牌的(de )制片(pià(⛰)n )人之(👐)一，但妻子(zǐ )的突(📎)(tū )然(🦓)离世让(rà(💪)ng )门罗(luó )备受打击(🕣)。突然(🔔)(rán )的一(yī )场地震(🌖)过后，大家都跑(🐀)到(💤)片场(chǎng )查看(kà(🚬)n )受损(🐋)状况，门罗(luó )也不(🎿)例外。在(zài )那里(🛢)(lǐ(🗼) )他与一个系着(🛴)银(yí(❓)n )色腰带的女孩(há(🍮)i )擦肩(jiān )而过，一(🚦)瞬间门(mén )罗联(liá(🔚)n )想到(🦆)自己的妻(qī )子。为(😝)了找到这(📝)(zhè )个(😑)女(nǚ )孩，门罗发动(🛏)(dòng )手(🤓)下所有人搜寻(xún )女孩(hái )的(🙌)信息(📻)，终于与(yǔ )这个名(🚘)叫凯(💴)瑟(sè )琳的(🐡)(de )女孩相识。 Mr Hoffman sells books and provides his female customers with nice moments in a room at the back of the shop. The number of female customers grows very rapidly and when Mr Hoffman isn’t up th the demand, he calls in his two oldest sons who keep the shop going. Unfortunately his youngest son is only interested in reading. One day, as he delivers books to one of the customers, the lady teaches him about the pleasures of sex. In order to celebrate this, the father organises a party and all is well that ends well The niche market DVD label Mondo Macabro has released a little-known 1976 film titled In Hell, known variously as La tortura and Gloria Mundi. The movie is the creation of the late Greek director Nikos Papatakis, who obviously felt he had a significant left-wing political statement to make in this bizarre and unpleasant blending of radicalism and sexual humiliation. The film's one saving grace is an astonishingly brave performance by lead actress Olga Karlatos, who we are introduced to in a provocative, if cringe-inducing sequence in which we observe her sitting in a bathtub and attaching electrical wires to her nipples and genitals then torturing herself by turning on the current. Why is she doing this? It seems that her character, Galai, is an attractive young Algerian immigrant living in Paris. She has fallen under the spell of a mysterious and unseen political anarchist named Hamdias, who wants to wreak havoc against French colonialism in Algeria. This is to be achieved through terrorist acts that he is grooming Galai to carry out via instructions on the phone and cassette tapes. He also fancies himself an important filmmaker and is trying to raise funds for a political thriller starring Galai in the leading role. The film runs into the usual dilemma that real life independent producers must endure: the funding keeps running out but Galai becomes obsessed with ensuring that the movie is completed. Hamidias envisions incorporating perverse sexual abuse into the story line and he finds a willing leading lady in Galai, who enthusiastically submits herself to self-imposed "training sessions" in which she performs torture on her own body, all the better to please her producer/director/lover by giving the most genuine performance possible. The graphic opening sequence of this abuse is difficult to watch but the film quickly delves into a virtually incomprehensible look at the psychological tortures Galai is facing. Seems that Hamdias enjoys playing head games with her psyche and issuing increasingly dangerous demands including carrying out dry runs for terrorist bombings. She constantly vents to herself about her disdain for him, but it becomes clear that not only is she completely submissive to his whims, he is also holding their child as a virtual hostage to ensure she carries out his demands. That's about all I could ascertain from the confusing story line which at times is completely incomprehensible. There are films within films, sarcastic scenes that denounce the French elite and occasional sequences in which Galai is subjected to sexual abuse at the hands of military captor. There is abundant full female nudity but none of it is presented in an erotic manner and in one particularly awful scene one of Galai's would-be lovers vomits on her bare chest. 剧(jù(📌) )情：(♌)这部不可(kě )理性(🔏)(xìng )分析的影片(🍇)，剧(😤)(jù )情也(yě )非常(⤴)简单(🔲)，主(zhǔ )要为秦汉(🌬)为(🌌)了向(xiàng )老同(tó(🍺)ng )学(🦊)车轩要回借去(🥧)(qù )的(😅)钱，缠着车(chē )的未(🍪)(wèi )婚妻林凤娇(🎶)一起(qǐ )寻找车，并(🛷)想(xiǎ(📛)ng )二人(rén )日久生情(😗)…… 剧(jù(🎓) )情主(🚅)(zhǔ )要发生在一(yī(🏾) )列(liè(🐍) )从美国西海岸开(kāi )到芝(zhī(🚵) )加哥(🐩)火车上，年轻出版(💽)商乔(🃏)治(zhì )克威(⛪)(wēi )与艺术品鉴赏(🉑)家(jiā(🥃) )薜礼纳的秘书(shū(🐠) )一见(jiàn )如故，两(🚔)人(⛸)正在(zài )温存之(⛑)际，车(〽)(chē )窗外(wài )却抛下(🔝)薜礼纳的(de )尸体(🐍)(tǐ(🔲) )，乔治因而卷(juà(🔽)n )入凶(🖨)徒的追杀之(zhī )中(💠)。而潜伏在火车(🎃)上(shàng )的联邦密探(👲)史(shǐ(🎒) )威知(zhī )道薜教授(😚)被杀的(de )真相，亦(🎑)遭势(shì )力庞(páng )大(🛠)的罗(🌡)杰杀害。雪球(qiú )越滚越大，最(🌽)(zuì )后(🤮)失控的火车头(tó(🌇)u )竟然(♎)(rán )撞进火车站之(zhī )中。导演(🏴)阿瑟(🚣)·希勒(lè )拍出了(🛡)紧凑俐落(luò )的(🌤)气(🔏)氛，高潮(cháo )一波(👤)(bō )未(♏)平一波又起，压轴(🐣)的火车大(dà )灾(♐)难(🐷)(nán )在二十年前(🥐)更是(🐶)(shì )令人(rén )看得目(🌁)定口呆(dāi )的精(🚊)彩特技场面(miàn )。 郷(😈)(xiāng )ひ(👱)ろみの映画初主(✍)演作。遠藤(téng )周(☔)作(zuò )の同名の青(🥉)春小(〰)(xiǎo )説を映画化。『愛(ài )と誠(🤡)』以(🕊)来、青(qīng )春映(yì(🦒)ng )画を(🗨)撮り続けてきた山根成之(🍪)(zhī )監(🖊)督(dū )がメガホン(🖊)を取り、脚本(💐)を(💻)ジェームス・(🏎)三木(😡)が手(shǒu )がけた。郷(😌)ひろみが主題(🤦)歌(🛤)「さらば夏の(➗)光」(🐣)を歌っている。共(😵)演は、女(nǚ )友(💂)達のハンバーガ(👋)ー・(🕋)ショップ店(diàn )員(🏦)役に秋吉久美(🤪)子が、大学浪(là(😂)ng )人の(🔨)親友役に川口厚(hòu )がキャ(🌙)ステ(🥉)ィンされた。地方(♋)出身(⛹)(shēn )の貧(pín )しい青年が愛(à(🤣)i )し始(🍱)めた女友達(dá )を(⚓)親(qīn )友に譲っ(🚣)た(📁)ことから、明(👔)るく(🉑)生きながらも愛(🚁)に苦(kǔ )しみ、(🦐)人(👼)生の厳しさを(🧑)知っ(♑)ていく姿が描か(🙇)れる。 一(yī )对刚(➕)结婚的夫妇(fù )被(👢)德(dé(🌌) )古拉绑架，丈(zhàng )夫(🏮)被司机带走，阴(🍘)茎(jīng )被切除，把这(😢)个器(🌪)官交给一个(gè )巫婆(pó )。新娘(🎭)的父(😵)母雇(gù )了一名侦(🏣)探来(😑)(lái )寻找(zhǎo )她们。德古拉强(qiá(⭕)ng )奸了(♐)(le )被绑架的新娘(niá(🦐)ng )，然后出去兜风(🚀)(fēng )，发(fā )现了卡罗(🍇)尔。他(🐲)认为她就是他(tā(🐆) )要找(zhǎo )的人。他(😑)让(💏)司机(jī )给她一(🧜)枚戒(💱)指(zhǐ )，然(rán )后用戒(🐗)指把她带(dài )到(🐹)自己的巢穴(xué )，后(🚯)(hòu )来(🎏)他改变了对卡(kǎ(💣) )罗尔(ěr )的看法(🎧)，来到(dào )被绑着的(😹)侦探(🌻)面(miàn )前，宣告他永恒的爱。 "In a town in southern Sweden, Sven Klang decides to enliven his dance combo with a new sax player, Lasse from Stockholm. At first all goes well; but bit by bit Lasse brings into question all the rigid values, musical and social, by which the faintly supercilious Sven has set his life's course. Gunnel, the vocalist, falls for the newcomer's charms and finds herself pregnant when Lasse and Sven eventually part in high dudgeon. The daily round continues. Eventually Lasse pops up again, and disappoints all save Sven by turning tail in the face of Gunnel's love and his sense of guilt at having fathered her child....The appeal of Sven Klang's Combo lies in its utter lack of pretension, in its small town atmosphere and its vivid characterisation. One imagines that the actors were able to improvise their lines and contribute personal touches that fleshed out their roles. Their autobiographies become fiction; but fiction, as so often, also becomes truth. This film recognises that big emotions stem from small incidents and that one is forever a prisoner of one's generation." (Peter Cowie, 1978 International Film Guide) 《恶(✳)梦》(彩(🎆)(cǎi )色故(gù )事片)。 The title of the film leads the viewer to expect lots of violence, and Lenzi certainly doesn't disappoint in this respect. We've got bowling balls to the head, a young woman having her face scraped off on a moving train, a man impaled on a sharp fence and many other such delights. Overall, it has to be said that this film isn't very original, but Lenzi injects some freshness into it with a barrage of exciting chase scenes (the best of which take a point of view shot from the front of a motorbike) and violent shootouts. The good thing about these Polizia movies is that they are played out for pure entertainment value, meaning that Lenzi is free from trying to be arty, and can pack in as much violence as he likes; a fact which is often capitalised on. The film benefits from a strong Italian cast, including Maurizio Merli; who may be no Clint Eastwood, but still delivers a strong and entertaining lead performance. John Saxon gets to join in the fun also, and there's also a place for fellow American actor Barry Sullivan, in the role of the villain. Overall, if you're into Italian cop movies; this isn't one to miss!