神奇4侠初露锋芒

Follows Myriam who is fighting against the construction of a roadblock, and Greg, a police officer who goes undercover to gather intelligence on this movement of protesters.

由瓦尔丹·托兹加编剧执导，主要讲述年轻人在犯罪道路上的经历。在一个由权力决定公平的国度，主人公菲利浦生活在青少年收养中心，在一个腐败警察的胁迫下，他被迫参与了一次可怕的案件，因而产生无法痊愈的心理创伤。尽管菲利浦拥有其老师的帮助、收养中心的照料、朋友佩塔尔的安慰，他最终还是未能战胜那次案件后的心理创伤带给他的痛苦。痛苦吞噬了他的理智，产生复仇之念，致使他将更多年轻人拉入他残酷命运的深渊。最终菲利浦通过其暴力、凶猛的手段，将迷失的年轻人带进了黑暗、暴力的犯罪世界。

　　《大都会》改编自古罗马的历史著作《喀提林阴谋》，讲述了一个关于乌托邦的故事。影片设定在一个未来主义的城市——新罗马城，探索人类对理想社会的追求。故事围绕一位伟大的建筑师展开，他试图在遭受灾难重创的纽约重建一个理想的城市。影片中，亚当·德赖弗饰演的角色展示了时间停止的超能力，增加了影片的神秘色彩。这部电影是科波拉职业生涯中的一大冒险，充满了对未来社会的深刻思考。

　　一位广受欢迎的痛苦叔叔，名叫吉安·古鲁。桑尼还成功地为最具影响力的电影导演卡兰·乔哈尔赢得了一个著名的剧本撰写项目。他有点愤世嫉俗，他认为自己是一个白手起家的人，生活中取得的一切成就都归功于自己的努力，而不是别人的努力。他的愤世嫉俗延伸到他对与未婚夫珍妮(阿伊莎·塔基亚饰)的婚姻以及排灯节的看法。就像桑尼对生活持怀疑态度一样，迈克尔·伯内特(波曼·伊拉尼饰)对生活持乐观态度。51岁的迈克尔是一个头脑简单的人，几乎像个孩子一样，最近在Mummy‘s Pizza找到了一份披萨送货员的工作。迈克尔有一种在两天之内丢掉每一份工作的倾向。然而，这一次，他发誓无论如何都要留住这个人。在排灯节前夕，桑尼有很多事情要做，但时间却很少。他必须赶上剧本的最后期限，他必须摆脱潘迪(Saurabh Shukla饰)，他令人恼火的侵扰的隔壁邻居，他必须避免接到编辑的电话，编辑对他的卧铺工作感到愤怒。但更重要的是，他需要让珍妮离开，因为他和玛雅(玛希玛·乔杜里饰)有约会，玛雅是一位南印度超级巨星，自从他有记忆以来，他就一直爱着她。在这种混乱中，桑尼忘记了他的单身汉公寓里没有食物，他点了一份披萨，迈克尔被派去送披萨。迈克尔带给桑尼的不仅仅是一个披萨。桑尼把简单的人生课程送到了家里，就在家门口。

　　墨西哥超现实吸血鬼片，导演Juan López Moctezuma是JODOROWSKY大师的好友，曾经参与杨大师多部经典CULT片的拍摄工作。
　　A beautifull artist (Cristina Ferrare) moonlights as a vampire while in Mexico, killing lovers of both sex. It seems that the only person who has any chance of stopping her reign of terror is her father (John Carradine), who's also a vampire. Model and future TV host Christina Ferrare is a lesbian vampire whose victims are dying to quench her thirst for blood. Mexican authorities and her father (John Carradine) try to come between Ferrare and her next target's neck in this horrifying shockfest.
　　Juan Lopez Moctezuma's MARY, MARY, BLOODY MARY (1975) is one of those movies you watch and, after mentally cataloging all the things wrong with it, realize how cool it really is... mostly because of all the things you thought were wrong with it. Cristina Ferrare is such a Pamprin headache of an actress, as stiff as a celluloid collar, and yet she does create one of cinema's most interesting vampires. In many ways, Mary couldn't be worse at what she does - while the early murder of a man interested in more than her paintings goes off smoothly (Miss Thing slyly sliding a hairpin out of her chignon during female superior sex and using it to lay open his jugular), her next victim (a fisherman, whom she has attempted to drug) nearly fends her off until she takes him down in one of the most ungainly vampire attacks of all time.
　　Elsewhere, Mary proves herself a complete chicken shit in moments of tension, as when she breaks down in big boo-boo tears when confronted on a country road by a mysterious figure clad in black. She's lachrymose, emotionally withdrawn, sexually disengaged and her art sucks... what a perfect portrait of an Ugly Americana spreading the white man's poison south of the border. It's in this context that the cheapness of the production, the harsh 70s decor, the cold, perfunctory performances and the wall-to-wall Muzak score actually begin to seem like grounded artistic choices and have a lot to do with why I keep coming back to this one.
　　MARY, MARY, BLOODY MARY ends in a surprisingly cynical bloodbath of ultraviolence that leaves only the pathetic title character standing... or in reality on her knees sucking the life out of the one person whose love she had relied on to point her to some kind of normalcy. Not enough vampire movies use awkwardness and incompetence as character traits to define their bloodsuckers and that's too bad. George Romero had similar ideas for MARTIN (1976) a year later but portraying vampires as just folks is definitely the horror road not taken.