Lenz

Die15-jhrigeJulia,begnadeteKlavierspielerinaufeinerrenommiertenMusik-Akademie,verknalltsichindencoolenHotshotNick,Lead-SngerderRockbandRockit.UmmitihminseinerBandspielenzuknnen,verkleidetsiesichalsRockgreToniundbekommtdenJobalsKeyboarderin!DochdamitbeginnteinVersteckspiel,dasjederzeitaufzufliegendroht.Hin-undhergerissenz...

电影描写托马斯与美国诗人约翰·马尔科姆·布林宁(JohnMalcolmBrinnin，1916-1998)的交往。后者亦曾与杜鲁门·卡波特、田纳西·威廉斯等人交友，1955年出版了《狄兰·托马斯在美国》(DylanThomasinAmerica)一书，记录他请托马斯访美、陪他巡游的过程，沿途深为大诗人不停歇的醉酒和各种反常行为所苦。\r这是关于英国诗人迪伦·托马斯（DylanThomas）的半自传电影，今年也正是这位诗人的一百周年诞辰。迪伦·托马斯的诗作受到现代主义的诗歌和浪漫主义传统的双重影响，技巧娴熟，关注读者的情感诉求，具有强烈的抒情性。美国摇滚巨星鲍勃·迪伦（BobDylan）本名叫做“RobertAllenZimmerman”，因为他由衷崇拜迪伦·托马斯，所以把自己的姓改为了迪伦。

Thisearly70’sgiallobyUmbertoLenziiscertainlyamongthebestinhisfilmographyandalsointhewholegenre.PersonallyIthinkLenzi’sbestfilmsarethefunnycartoon-turned-filmKriminal,thestylishgialloSevenBlood-StainedOrchids,theexplosiveNapoliviolentaandthis.IntheeightieshedidplentyoffilmtrashinformofEatenAlive,HitcherintheDarkorBlackDemons,allofwhicharerippingsomethingoffand/orverydullandslowmoving.KnifeofIcecamewhenthegialloboomwasatitshottestandtheresultisconvincing.Technicallythefilmissuperb,containinggreatcinematographyinthebeginningwhenwelearnaboutthemaincharacter’straumatowardstrains.Fromthispointon,Lenzishowsushisabilitytobenefitthewidescreenand,forexample,thebicyclerideneartheforestisgenuinelybeautiful!ThisscenealsoshowsLenzi’sabilitytobuildsuspense,veryslowlybutmeaningfully.Afterall,therearen’tsomanymurdersinthewholefilm,onlythesuspensecirculatingaroundthemurderer’sidentity.Onesuspectisadevilworshipperwhichbringsnewaspectstothemystery.Sincethefinalscenetakesplaceinachurch,onecanwonderifLenziwantedtocommentonsomething,maybethehypocriticalmoraleofchurchandsuperstition.Themaincharacter(CarrolBaker)ismutewhichdemandsalotfromherfaceandeyes.Theactressworksverywell,givingusabelievableperformancecirculatingaroundtheemotionsoffearandmentalpain.Theotheractorsaregood,too.Thefinally,however,maynotgivetoopositiveasightaboutfemalesexsincetheyallareexpressedrathernegativelyinthefilm,onewayoranother.Stillthisiseasilyamongthemostnoteworthyinthegenre,notasbloodyastheArgentofilms,forexample,butequallysuspensefulandvisuallyalsointeresting.

UmbertoLenziisundoubtedlythekingofItaliancrimemovies,butunfortunately;SyndicateSadistsisnotthebestexamplesofhisworkinthisgenre.Lenzi’scrimeflickstendtobeacutabovetherestbecausehemakesfilmsbasedonstorieswithapoint,andtheydon’tlackdirection;butthisfilmfeelsabittoowaywardtofullyfitwiththerestofhisstuff.ThefilmtakesobviousinfluencefromSergioLeone’slandmarkwestern’AFistfulofDollars’(whichinturn,tookinfluencefromAkiraKurosawa’slandmarksamuraiflickYojimbo),inthatitfeaturestwowarringfamiliesandastrongcharacteratthecentre.ThecrimethatLenzifocusesoniskidnapping,andwecentreonacharactercalled’Rambo’.Ramboisdraggedintothewarbetweenthetwofamiliesafterhisbrotheriskilledbecauseofit.Rambouseshisbrainsandbrawntopitthetwofamiliesagainstoneanother,inthehopeofgainingrevengeforhisbrother’sdeath,rescuingayoungboythatthey’vekidnapped,andultimatelylettingthetwosidesdestroyoneanother.Thefilm’sbiggestassetisundoubtedlyTomasMilian.MilianwasputtogreatusebyLenziinalmostallofhiscrimethrillers.TherangeofcharactershehasplayedforLenziisimmense,andthisoneiseasilyoneofthecoolest.ThecharacteriscalledRambo,whichimmediatelysprangtomindthepopularSylvesterStallonecharacter-butforonce,theItaliansactuallyhaven’tstolenthisnameasSyndicateSadistswasreleasedfirst!Asusual,thefilmiswickedlyentertaining,aswegettowatchMiliangethimselfinvolvedintheusualarrayofcarchases,shootoutsandbrawls.Lenzihasgothimridingamotorbikethistimeround,andeveryscenefeaturingitandMilianisarealstandout!However,thefilmoftenfeelslikeitdoesn’treallyhaveanywheretogo,andthismeansthattherunningtimeisstretchedoutmorethanitshouldbe.ComparedtothecrimefilmsofotherItaliandirectors,SyndicateSadistsismorethanaboveaverage;butinrelationtoLenzicrimeflickssuchasAlmostHumanandTheCynic,TheRatandTheFist-itdoesn’tstandtallasoneofLenzi’sbest.Still,ifyou’relookingforninetyminutesoftestosteronefuelledmayhem-SyndicateSadistswillsuffice!

ITVhasconfirmedthathitdetectivedramaEndeavourhasbeenrecommissionedforaseventhseries.Theannouncementfollowscriticalacclaimandconsistentlystrongviewingfiguresforthemostrecentseries.ProducedbyleadingindieMammothScreeninpartnershipwithPBSMasterpiece,thesuccessfulserieschartstheearlycareeroftheyoungEndeavourMorse,playedbyacclaimedactor,ShaunEvans.ThenewsetoffilmswillseeEvansreprisehisrolealongsidecelebratedstarofstageandscreen,RogerAllamasmentorDIFredThursday.WrittenonceagainbyRussellLewis,whohaspennedallofthe27Endeavourscreenplaystodate,thenewserieswillbesetin1970andproductionwillbeginlaterthisyearfortransmissionin2020.FilmingwilltakeplaceinOxfordandthesurroundingarea.CreatorRussellLewissays:We’rethrilledITVhasasked#TeamEndeavourtocontinuetoaddtotheCasebookofColinDexter’simmortalcreation,andtakeE.MorseandOxford’sFinestintoanewdecadeofdecimalisation,packageholidays,theOilCrisis,Blackouts,ThreeDayWeeks,andEuropaEndlos.MammothScreen’sManagingDirector,DamienTimmeradded:We’vebeenthrilledwiththeresponsetoSeries6–itstestamenttoRussellLewis’continuingclevernessandalsothebrilliantpartnershipbetweenShaunEvansandRogerAllamasEndeavourMorseandFredThursday.The1970sarecallingus,andwecan’twait!HeadofDramaatITV,PollyHillcommented:We’reincrediblyproudofEndeavouranddelightedtohaverecommissionedthedramaforaseventhseries.WriterandcreatorRussellLewiscontinuestoengageviewerswithcarefullycraftedstoriesforEndeavourandThursdayaswemoveintothe1970s.We’regratefultotheproductionteamatMammothScreenforcontinuingtodeliversuchahighqualitydrama.RecentlyvotedthefourthgreatestBritishcrimedramaofalltimeinapollconductedbyRadioTimes,thedramahasgonefromstrengthtostrengthsinceitsfirstoutingasaone-offfilmin2012.Thelatestserieslaunchedwithaconsolidatedaudienceof6.9manda27\%share,markingEndeavour’sbiggestaudiencesince2014.MammothScreen’sDamienTimmerandHelenZieglerwillactasexecutiveproducersfortheseventhseries,alongsidewriterandcreatorRussellLewisandWGBH’sRebeccaEaton.ThenewsetoffilmswilldistributedbyITVStudiosGlobalEntertainmentinternationally.

Following the success of their feature debut Jennifer’s Shadow (2004) – an exercise in American Gothic set in a scary land called Argentina – Pablo Parés and Daniel de la Vega worked for a US company on a post-mega-disaster wasteland zombie film in which South America had been turned into an all-purpose, all-materials junkyard, with the undead as the last humane entities around (forget about the humans here!).　　The project never materialised, but Diego Parés, Pablo’s brother, started to write and draw a comic series based on the screenplay – which so far remains a ruin, as only parts were finished and published. The ECish beauty and balls of Diego P.’s labour of love have now been congenially transformed by the directorial duo into a delightfully old-(1970s)school low-budget production, closer to Romero and Dante than Fulci and Lenzi. And the IFFR audience is in for the treat of treats they get to see the film and can also enjoy the unfinished comic in an exhibition.

僻静深夜,Selly（Violenzia Jeanette 饰）!Jack（Ricky Harun 饰）!Tando（Zidni Adam 饰）三名爱好安慰的青年男女驾驶机车飞奔在公路上,忽然之间,Selly的机车掉控,她跌倒在地,身受轻伤,苏醒不醒,Jack!Tando立刻将其送往病院。与此同时,来自岛国日本的女孩幸子（苍井空 饰）正预备跟外地的向导外出玩耍,谁知却不当心用车门夹上向导的手,言语本就差其余二人也慌张皇张前去病院。未多少之后,两组人马在这间有些阴沉的病院内汇合,隐模糊约中,一个留着长发却看不清面目面貌的女人不断逡巡在幸子等人的四周。 对这多少个有些走运的青年来说,恐惧而又爆笑的夜晚正渐渐拉开尾声……

Umberto Lenzi is undoubtedly the king of Italian crime movies, but unfortunately; Syndicate Sadists is not the best examples of his work in this genre. Lenzi's crime flicks tend to be a cut above the rest because he makes films based on stories with a point, and they don't lack direction; but this film feels a bit too wayward to fully fit with the rest of his stuff. The film takes obvious influence from Sergio Leone's landmark western 'A Fistful of Dollars' (which in turn, took influence from Akira Kurosawa's landmark samurai flick Yojimbo), in that it features two warring families and a strong character at the centre. The crime that Lenzi focuses on is kidnapping, and we centre on a character called 'Rambo'. Rambo is dragged into the war between the two families after his brother is killed because of it. Rambo uses his brains and brawn to pit the two families against one another, in the hope of gaining revenge for his brother's death, rescuing a young boy that they've kidnapped, and ultimately letting the two sides destroy one another.　　The film's biggest asset is undoubtedly Tomas Milian. Milian was put to great use by Lenzi in almost all of his crime thrillers. The range of characters he has played for Lenzi is immense, and this one is easily one of the coolest. The character is called Rambo, which immediately sprang to mind the popular Sylvester Stallone character - but for once, the Italians actually haven't stolen this name as Syndicate Sadists was released first! As usual, the film is wickedly entertaining, as we get to watch Milian get himself involved in the usual array of car chases, shootouts and brawls. Lenzi has got him riding a motorbike this time round, and every scene featuring it and Milian is a real standout! However, the film often feels like it doesn't really have anywhere to go, and this means that the running time is stretched out more than it should be. Compared to the crime films of other Italian directors, Syndicate Sadists is more than above average; but in relation to Lenzi crime flicks such as Almost Human and The Cynic, The Rat and The Fist - it doesn't stand tall as one of Lenzi's best. Still, if you're looking for ninety minutes of testosterone fuelled mayhem - Syndicate Sadists will suffice!