逃出绝命镇

故(🗝)事是关于一个(gè )由杰夫(fū(🍁) ).布(🈲)里(🏟)奇斯饰演的阿拉(lā )巴马人(✉)(ré(😬)n )，他卷(juàn )入了一个不动(dòng )产(🤓)的(🚭)官(guān )司中。为了达成交易(yì(🎮) )，他(🛷)需(👓)(xū )要购买(mǎi )健身房的建设(🥞)(shè(😓) )。当他(tā )来到健(jiàn )身房，然而(🎾)，他(🍔)发现(xiàn )自己深(shēn )深地被浪(🍡)漫(🚭)的(🧜)接待员(yuán )无忧无(wú )虑的(🆖)生(🌎)活(♍)方式和为了(le )成为宇(yǔ )宙先(💜)生(🗒)而努力训练的(de )澳大利(lì )亚(🖐)职(💖)业(🌙)健身运动员“乔城主(zhǔ )”吸(🌧)引(🤫)。 Philip Hinchcliffe era One day, Myeon Ae, who had been waiting for her husband to get a Ph.D. in the US, heard the news of her husband returning to the airport. However, her husband did not come, and Hyun Ae, who has a mixed feelings, takes on the tour guide of a young man who is a 2 nd generation Korean in the introduction of her uncle. Then he meets a young man to find his earrings, and he tramples the six years he waited for him. He who has collapsed in vain, abandons all happiness and drifts in a rough life. When she goes to see the piano concert of her daughter Galaxy, she meets the galaxy, and the galaxy does not want to put her mother back. In the end, he leaves for the United States with her husband and daughter in search of happiness that has been forgiven and lost everything. 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. 在(🥨)澳大利亚(yà )南部的(de )库容海(💌)岸(🦇)，一个叫麦(mài )克的10岁(suì )男孩(📫)与(🙄)(yǔ )父亲在湖边居(jū )住，以(yǐ(🍈) )打(🔬)鱼(🏠)为(wéi )生。一天，麦(mài )克在湖(hú(🍵) )边(📏)发现(xiàn )偷猎者在射杀(shā )醍(🍣)醐(🎥)，幸亏黑(hēi )人猎手波塞沃(wò(🐑) )及(🔬)时(👧)赶(gǎn )到，赶(gǎn )走了偷猎者(♏)。麦(🏜)克(🐠)和(hé )波塞沃(wò )成了朋友，并(🤠)将(👌)失去(qù )了妈妈(mā )的小鹈鹕(🙇)带(🛀)回(🌇)家中饲(sì )养，与(yǔ )鹈鹕建(🕊)立(🚴)了(🔼)深厚的感(gǎn )情。 纪(jì )录片关(💽)于(🥦)西班牙新歌(gē )运动的(de )历史(🕞). I got this under the title SPECIAL SQUAD SHOOTS ON SIGHT. I've been slowly watching this movie over the past year in 5 minute increments and I finally finished it tonight. It is a Turkish/Italian co production starring the perfectly named Tony Tiger (real name Irfan Atasoy) as a reporter/part time cop/hypnotist (!) who is blackmailed into working for some small time crooks led by Gordon Mitchell, who sounds like Popeye in this. The gang's goal is to steal a mystical Golden Buddha with the help of Tony's hypnotic powers. The film is needlessly convoluted, with mysterious phone calls where you don't know who is on the other end and characters popping up that you have no idea who they are. It also doesn't help that Tony and the other male lead (a cop whose name I have already forgotten) look almost exactly the same.