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在(🌬)这第三(🖐)部鳃(😲)人电影(📗)（前两部分别(bié )是(🗾)(shì )《黑(hēi )湖(hú(📯) )妖谭》、《造物(🗾)复仇》）(🚎)，那生物被抓(🈳)住了，一(❣)(yī )个(gè )富(fù(😈) )有(yǒu )而疯狂的科学(🐙)家成功地被(🔷)它改变为空(😹)气呼吸(🍿)的生物(wù )，可(🈲)(kě )这(zhè(💈) )让生物(wù )非(⚾)常生气，后果很严重(📥)，它逃脱了，四(🈺)处(chù )杀(🔋)(shā )人(📙)(rén )放(fà(😢)ng )火(huǒ )。 故事(shì )梗概：(〰) A regional independent film? A western swing musical? An early Robert Altman script? A roman à clef about real-life popcorn baron Charles Manley? A masterpiece? Corn’s-A-Poppin’ is all these things and more. Produced on the cheap in a Kansas City by a band of young talent schooled in the production techniques of The Calvin Company, the Midwest’s most innovative industrial film studio, Corn’(🏪)s-A-Poppin’ is just about the most free-wheeling and sing-able hour of cinema we’ve ever seen. Down-home crooner Jerry Wallace plays Johnny Wilson, the star of the Pinwhistle Popcorn Hour, a half-pint (and half-hour) variety show with acts ranging from pro-hog caller Lillian Gravelguard to Hobie Shepp and the Cowtown Wranglers. Might the cornpone bookings be an act of sabotage by rogue PR man Waldo Crummit in a bid to gut the Pinwhistle Empire? It’s up to Little Cora Rice to save the day. Songs include: “On Our Way to Mars,” “Running After Love,” and “Mama, Wanna Balloon.” 本(běn )片(piàn )是(🌛)(shì )出(chū )自弗(🥀)朗(lǎng )茨(🕺)的真实故事(🈸)，第二次世界大战期(🐬)间弗朗茨(cí(⤵) )被(bèi )关(guān )押(🚚)(yā )在英(🐜)国(guó )的战俘(🚫)营里，通(🗡)过不屑努力(🏥)终于逃离战俘(fú )营(🕳)(yíng )回(huí )到(dà(🎍)o )了德国，成为(⏪)二战期(🌯)间唯一从英国战俘(😕)营逃脱并成(🕟)(chéng )功(gōng )回(huí )到(dào )德(⛽)国的(de )人。 Dr. Matthew Campbell has been experimenting on methods to regress the mind to primitive instincts so that we can find methods to improve our brains and not get taken in by cheap horror movie hogwash. He's developed a drug made from vampire bat blood and has begun treating himself with it. But instead of improving his mind, he's become ill and addicted. He dies, but not before trying to warn fellow doctor Paul Beecher. Fortunately for us, he dies before he can say more than that pills are to blame. While still at Campbell's house, Paul finds a bottle of pills and pockets them. He's also got another bottle of pills in his other pocket that he takes for frequent migraine attacks. He goes home, puts his jacket on a rack, and then he's struck with a migraine. He asks his daughter to give him the pills in his jacket pocket, and of course she gives him the pills of evil. He is instantly addicted and he must take one pill every day. Each time he takes a pill he turns into a hairy and very insane killer, and he doesn't remember what he's done, except as a vague dream. Can the police and the other scientists who work nearby figure out who the killer is and stop him before he kills the beauteous new nurse that he has just hired? Douglas Sirk takes the gloves off in this searing view of family life of 50's America. Unlike his famous melodramas, "There's Always Tomorrow" is completely devoid of any beguiling glitz and glamour to sweeten the pill. For its time it’s a bold and unusual work focusing on the husband as the deeply unhappy victim of what outwardly appears to be an ideal family. A shackled prisoner tries to tries to negotiate an escape while en route to San Quentin.