bt磁力 第15集

Salvatore "Toto" Cangemi(Antonio Sabato) is a sicilian who has made it big in Milan as a crime boss, his area being prostitution. He is approached by a French crime boss know as "Le Capitaine" he wants to go into business with Toto using his hookers to sell his drugs, only problem is the French aren't giving Toto much of an option. He decides against it and this leads to a big gang war, with tit for tat killings and Toto's hooker being beaten and kidnapped. Toto's second in command Lino Carruzzi, proposes getting his American crime boss uncle "Billy Barone" involved, Toto has little option but to agree in order to save his business. Highly un pc film, that denigrates women all over the place, promotes racial stereotypes and its also homophobic, despite this its an entertaining ride, there's even time for Toto to have some liaisons with the mysterious Jasmine (….but underused Marisa Mell). The violence is as you'd expect with Lenzi quite violent with breast slashings galore and even some genital electrocution…nice! Carlo Rustichelli's jazzy score is nice but a little overused. A young woman becomes involved in the sex trade in Bangkok 在(🐴)(zài )遥远(yuǎ(🏦)n )的未来(lái )，一(yī )座(🦔)巨型(xíng )高科技(🛄)成人(rén )乐(👊)园(🏾)Delos建成，其中有西(📜)部(bù )世界(🍢)，罗马世界，中世纪(🤐)世界三大主题版块的机(🥊)(jī(🥖) )器人世界，它提(🎿)供给游(yó(📀)u )客杀戮(lù )与性(xì(🐽)ng )欲的满(mǎ(🔹)n )足，而这座(zuò )巨(🥤)大(🚡)(dà )机械乐(lè )园(🍤)的后台监(🐡)(jiā(🥜)n )控渐渐失去(qù(🎱) )了对机器(🌃)人(rén )的控制，游客(🕣)被机器人杀死(♐)，所有想逃(🔺)离(🛃)者都被(bèi )锁定(🐕)…… 改(gǎ(🧕)i )编自依(yī )达原(yuá(♐)n )著《七(qī )颗寒(hán )星》，讲述(shù(❇) )青(🐈)年作(zuò )家与歌(😼)女的(de )一段(📿)恋情。 身为警视总(🛅)(zǒng )监的岚山（池部良 饰(♐)）(🚲)一直在追查大(😤)规模毒品(🔜)走私的案件，因搜(🚘)查中使(shǐ(🍈) )用不当(dāng )手段(duà(🔠)n )而被迫(pò )辞职(😎)(zhí )，为了(le )继(🍂)续(🤝)(xù )调查，岚山集(🚇)结了(le )三位(🏅)高手：岚山原下(📃)属(shǔ )、独行杀(🈵)手隼猛（(🔋)佐(💇)藤允 饰），合气(📹)道高手、(🏑)死(sǐ )刑犯樱一郎(🛴)(láng )（乡鍈(yāng )治 饰(shì )）以(🍜)及(🎓)(jí )甲贺(hè )忍术(🌥)之(zhī )高手(💢)(shǒu )、现经(jīng )营侦(🎇)(zhēn )探事务(🍏)(wù )所的甲贺龙(🚅)(ló(🚠)ng )一（千叶真(zhē(😷)n )一 饰）。三(🍯)人成立特别调查(🌁)组，目标走(🚰)私团伙老大——(🤸)水原(yuán )马里奥(⛰)（津(jīn )川(🏘)雅(🎿)彦(yàn )）。 While some Italian crime films (particularly post-1977 ones) are just mindless violence (particularly violence against women), many pre-1977 ones are serious commentary on corruption and the justice system in Italy...and by extension to other Western countries. THE BIG FAMILY is such a film. The Mob is in charge at the film's beginning, the Mob is in charge at the film's end. Anyone who challenges it is killed or somehow taken out of the picture. A police inspector or prosecutor who is making progress may suddenly get the offer of a significant promotion...to another part of the country. Every branch of the government...and the church...is compromised. American businessman Richard Conte can come to Sicily hoping to do some construction projects and thinking that his friendship with the Don back in New York will help him here and that he doesn't have to play by the local rules. An honest cop works hard and makes countless sacrifices, and many good people die because he keeps on his quest. Eventually, he nabs the top man...and it turns out he has achieved nothing and he is back at square one. Even the top man is expendable to the overall survival of the big family. I was impressed by this film when I saw it fifteen years ago, and I'm still impressed with it today. It has enough action to satisfy any fan of 1970's Italian crime films, one of the most exciting genres in film history, but it also has a sobering message, one that is relevant to anyone watching the film anywhere. Although both CROSS CURRENT and GREAT TREASURE HUNT have their moments, THE BIG FAMILY is probably Tonino Ricci's most successful film as a director (I haven't seen his recent family films, although I especially want to see the Buck film with John Savage, nor have I seen the shark film with Treat Williams). Highly recommended to fans of the genre and those willing to see the value in a dubbed genre film. A beautiful young housewife, Nora, is trying to convince her tight-laced, bourgeois husband, Torvald, to give her some extra money for the holidays, even if he has to borrow it. Fassbinder's interpretation of "A dolls house". A down on his luck gambler (George Seagal) links up with free spirit Elliot Gould at first to have some fun on, but then gets into debt when Gould takes an unscheduled trip to Tijuana. As a final act of desperation, he pawns most of his possessions and goes to Reno for the poker game of a lifetime. A film set mainly in casinos and races, as the two win and lose (but mainly win), get robbed, and get blind drunk.