12岁的(de )小(xiǎo )女孩爱丽(📽)丝•斯(😝)佩姬（Paula E. Sheppard 饰）来自一个单亲(⏪)(qīn )家庭(🔟)，她与母(mǔ )亲凯瑟琳(🏌)（Linda Miller 饰(shì(🖤) )）和妹(🗿)妹凯伦(lún )（Brooke Shields 饰）生(🍒)活在(zà(🤢)i )一(yī )起(🚟)。凯瑟琳几(jǐ )乎将全(🐗)部的母(🤝)(mǔ )爱给(🤺)了凯伦，而爱丽丝仿(➖)佛(fó )被(🐅)遗忘了(💠)一般(bān )。她的性格因(🦋)(yīn )此(cǐ(👓) )日渐反(🙅)叛和扭(niǔ )曲。
一九四(🎏)八(bā )年(🔗)春天，解(👒)放(fàng )軍大反功時，盤(💂)踞在馬(🎪)蹄島(dǎ(🕤)o )上的敵人，妄(wàng )圖(tú(🐅) )進行垂(🗄)死掙(zhèng )扎(zhā )。我地下游擊(jī(👾) )隊隊員(🖕)設法弄(nòng )到了敵人(😏)在島(dǎ(🈚)o )上的軍(🙃)事設施(shī )圖，交給了(🍦)老(lǎo )交(⬇)通員小(📳)鐵的(de )爺(yé )爺，叫他送(🍹)(sòng )給(gě(🚿)i )解放軍(😯)。小鐵(tiě )主動提出和(⚫)爺(yé )爺(😂)一起出(🤳)海完(wán )成這個任務(✡)。
Maurizio Merli may have come to fame as a Franco Nero impersonator; but after that he really came into his own and if his name is on the cast list (particularly if it's at the top of the cast list), you're pretty much guaranteed a good film. This one was the final outing for Merli's Commissario Betti character, and he ensures the ace crime fighter goes out with a bang as Marino Girolami's film is packed to breaking point with car chases, shootouts and fist fights and certainly delivers on the promise of being an action packed thriller! The plot focuses on Commissario Betti. Once again, he's aggravated at the amount of crime going on in the city and his attention is focused mainly on two big crimes; a bank robbery and a kidnap plot. The Commissioner battles bravely to ensure the crooks are brought to justice but soon realises that there's no point in merely sorting out the henchmen and decides to go after the man he believes is heading the criminal operations; slimy businessman Albertelli, although bringing justice on the head criminal may not be so easy...
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.
丁佩以(🥡)自己的(💮)(de )角度，把功夫(fū )影(yǐ(🏋)ng )帝李小(🔤)龙生前(🍬)(qián )一切的第一手(shǒ(💍)u )事实，毫(🍙)无保(bǎo )留地公诸于世(shì )，包(🏩)括她如(💨)何(hé )认识李小龙，及(jí )重逢(💴)後如何(⛵)(hé )发(fā )展成可以倾(🦄)诉(sù )肺(🐪)腑之言(🤗)的红(hóng )颜知己。究竟(📵)(jìng )李小(📢)龙与丁(🌖)佩(pèi )在私生活中，是(🔠)缠绵的(🖼)爱情(qí(🐜)ng )、抑或纯洁的(de )友(yǒ(👹)u )谊，在银(🙀)幕上(shà(🚍)ng )自有说明。而(ér )全片(🌾)最珍贵(👇)的(de )部分(📼)，当然是(shì )对李小龙(⚾)死因(yī(🏭)n )的交代(😯)。
Director Mario Caiano is not one of the better known Italian directors; but he's certainly one of the most underrated and has proved himself more than capable of delivering the goods on a number of occasions with films such as Calling All Police Cars, Night of the Doomed, and this film. The Polizi genre is best known for it's fun action flicks with a focus on car chases and shootouts; but with this film, the director has taken the theme and added an extremely grim atmosphere to it, and this bodes well with the plot line which takes in a robbery gone wrong, a resulting war between the criminals and a police investigation. The film opens with a bank robbery in which the crooks make off with a load of money which was intended for some workers' pay packets. This interests Police Commissioner Foschi as the wages are normally paid in cheque. Things haven't gone well for the criminals either, as two of them have decided to rip the other one off, leading him to track down his former partners with the cops on all of their tails.