庄威武馆(👂)名(🌸)震(❔)江(🍶)湖(🕛)，遭(🏠)来当地恶霸所(suǒ )勾结洋(yáng )人武师(shī )的挑衅(xìn )。大师(shī )兄苦练(lià(🏖)n )飞(🥘)禽(🐲)走(♎)(zǒ(😬)u )兽(🥦)十三形终(zhōng )于打败(bài )洋人武(wǔ )师，重(chóng )振武馆(guǎn )声威……
映画(🐚)(huà(🌑) )『(💻)ウ(🦗)ル(🐴)ト(⏰)ラマンレオ かなしみのさすらい怪獣』
寇克将(jiāng )军，欢(huān )迎(📋)您(🌒)重(🖍)(chó(🏹)ng )返(🤥)企(💅)业(📝)(yè )号！
Ulderico Quario hires as servant a very beautiful young woman: Teresa AKAS Tirisin. Ulderico decides to proceed like a new Pygmalion. He teaches her the art of seductions. But Teresa together with Cecchina starts using the new skills to oblige Ulderico to marry her and later to get all his inheritance. But none can seduce the destiny.
随着“四人帮”被打倒，祸国殃民的十年动乱终于落下帷幕(🔽)。然(☕)而(🌿)长(🚲)达(🔘)十(🔙)年的阶级斗争所培植出的变态偏执(zhí )的思想(xiǎng )，依旧(jiù )残留在(➰)(zà(👘)i )各(🌽)行(🐢)各(🏈)(gè(📅) )业中，毒害着这个苦难民(mín )族的百(bǎi )姓。受(shòu )上级指(zhǐ )派，朱(zhū )克(⏮)实(🍇)（(👯)李(🌩)仁(🔯)堂(🥩)(táng ) 饰）作(zuò )为金县(xiàn )的县委(wěi )书记走(zǒu )马上任(rèn )。此前(qián )该县(🗞)书(🦃)(shū(➰) )记(🆒)曹(😋)毅(🙂)(yì )在文革(gé )期间自(zì )杀身亡(wáng )，代理书记在医院养病，县里实(💚)际(🍀)工(🆑)作(😡)全(😛)部(🌍)由县办公室主任张伟和县委副书记许飞雄组成的小集团把持(🔊)。朱(😯)克(🌅)实(🌻)(shí(🔩) )的(📍)到来(lái )令这伙(huǒ )人颇为(wéi )忌惮，他们设(shè )下重重障碍意图阻(zǔ(🌈) )止(✋)新(🤾)书(🐱)(shū(📄) )记(🍧)的改(gǎi )革复兴(xìng )步伐。朱则审(shěn )时度势(shì )，排除(chú )万难，识破了(le )对(🌧)方(🐄)接(🥩)(jiē(🍵) )二(⏲)连(⛅)三(sān )的阴谋(móu )。在拨(bō )乱反正(zhèng )的过程(chéng )中，朱(zhū )书记发(fā )现(🦂)许(🔻)多(💖)发(🍄)生(🆕)在(🐟)文(⛷)革时期的案件所以留下的疑点。
“Jon Jost’s Chameleon was probably the happiest instance of a mixed marriage at the Festival (Edinburgh 1979): combining a freak, trippy (in fact almost Corman-esque) saga of a dope-dealer and all-round hustler with an abstract distillation of patterns of color and light. The place of the latter in the film is both somewhere within the drug-laced nimbus of its title character, Terry (Bob Glaudini), and somewhere outside its ironic description of the rampant merchandising of all other human activities. In a way, this abstract element almost serves as a secondary narrative, or at least becomes the ‘point’ of the film. At the beginning, Terry is seen hustling a painter of just such abstract designs to come up with six imitations of another painter which he can unload on the art market. With some ‘persuasion’, Terry overcomes the painter’s reluctance, and at the end of the film returns to collect his merchandise. But the rolls of paper his is given turn out to be blank, and the painter defiantly protests, ‘My life is color, form, the shape of things...’ before Terry knocks him down and leaves him lying in a pool of spilled colors that returns us to the abstracts which were shown in detail in the opening shots. It is probably not too deterministic a reading to see Jost as the painter and the blank sheets as the conventional movie which he has refused to provide for audience consumption.
In this hyperbolic comedy, a group of Westerners, travelling in a balloon, land in a remote Iranian village and try to Westernize the clueless villagers.
A spaceship containing specimens for an intergalactic zoo crashes on Earth near a small back woods town. The specimens escape, and soon town folk are turning up mutilated. Very low budget feature was the first for Baltimore filmmaker Don Dohler.