公海强奸风暴
《公海强奸风暴》线上看,由郑麒膺 , 罗曼迪导演,林正英 , 戴志伟 , 沈威 等演员领衔主演,影片主要讲述了越南海关军官阮文泰常滥用职权压榨平民。曹芹南、通伯、家洛、阿斗、水仙和百合在越南时屡被阮欺压，立意偷渡来港，却于公海遭阮派人洗劫，女的更被强奸，曹妻因而折磨至死。曹等人几经辛苦，漂流抵港，在港经营餐厅生意。国际刑警查知阮以渡假为名，来港与黑道人物陆逢春勾结，把庞大军火运往荷兰，遂派女刑警歌狄亚联合国驻港国际刑警雅伦搜集阮之罪证。百合与水仙在夜总会中得罪陆之手下，曹等人出面摆平，与陆结怨。阮来港后得悉曹等人在此，恐他们坏其勾当，买凶杀他们。曹等人脱险后与歌狄亚联络，合力对抗阮，歌以美色诱阮，探得军火收藏地后通知曹把军火劫走。曹以军火逼阮交易，暗中在废屋四周布下死亡陷阱，连场大战瞬即展开,公海强奸风暴"
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剧情提要
《公海强奸风暴》线上看,由郑麒膺 , 罗曼迪导演,林正英 , 戴志伟 , 沈威 等演员领衔主演,影片主要讲述了越南海关军官阮文泰常滥用职权压榨平民。曹芹南、通伯、家洛、阿斗、水仙和百合在越南时屡被阮欺压，立意偷渡来港，却于公海遭阮派人洗劫，女的更被强奸，曹妻因而折磨至死。曹等人几经辛苦，漂流抵港，在港经营餐厅生意。国际刑警查知阮以渡假为名，来港与黑道人物陆逢春勾结，把庞大军火运往荷兰，遂派女刑警歌狄亚联合国驻港国际刑警雅伦搜集阮之罪证。百合与水仙在夜总会中得罪陆之手下，曹等人出面摆平，与陆结怨。阮来港后得悉曹等人在此，恐他们坏其勾当，买凶杀他们。曹等人脱险后与歌狄亚联络，合力对抗阮，歌以美色诱阮，探得军火收藏地后通知曹把军火劫走。曹以军火逼阮交易，暗中在废屋四周布下死亡陷阱，连场大战瞬即展开,公海强奸风暴"
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Nipple-targeting seagulls. Old men rapping in a bathhouse. Drugs smuggled as Italian pasta. Welcome back to The Mole Song’s world. The third and final part of this series of manga adaptations, by IFFR regular Miike Takashi, is once again loaded with delicious madness. Following Undercover Agent Reiji (IFFR 2014) and Hong Kong Capriccio (IFFR 2017), this time the enemy are Italian mafia smuggling their ‘speed-a-roni’ into Yokohama’s port. Yakuza boss Papilon, fearing for his business, wants to stop them from entering, and so do the Japanese cops: Reiji works for both as an undercover agent. All these complications this give cult director Miike a playground for crazed subplots. At times fooling us into thinking it’s an ordinary action thriller, The Mole Song: Final is a cocktail that smashes together slapstick comedy, farcical fantasy and puppet animation, with Reiji – played again by the energetic and engaging Ikuta Toma - always at the centre of the tornado that just keeps on spinning.
嗨，妈妈！
In this very late 60's irreverent, almost anarchic low-budget film, Brian De Palma defines more of his strange, given Hitchcock-like fascination of voyeurism, and attacks the issues of the day. The most prominent of which, both cringe-inducing and just plain funny, is when he focuses on the black-power movement (a black woman handing out fliers asking white people 'do you know what it's like to be black'), which is something that could only work for that time and place, not before or now. But one of the key things to the interest in the film is 27 year old Robert De Niro (not his first or last film with the director), who plays this character who sits in a room looking out through his telescope at women in their rooms, setting up phony deals, and in the end basically throwing bombs. Those who have said that De Niro can't act and just is himself in every movie should see this movie, if only out of some minor curiosity. A couple of times in the film it's actually not funny, as when there's a disturbance in a black-power meeting (filmed in a grainer, rougher style than the rest of the film). In the end it's capped off with a rambling monologue in an interview that tops De Niro's in King of Comedy. It's pretty obvious where De Palma's career would go after this, into slightly more mainstream Hollywood territory, but all of his trademarks are here; the dark, almost nail-biting comedy, the perfectly timed style of voyeurism, and interesting usage of locals. Think if De Palma and De Niro did a Monty Python film, only even more low-budget and in its New York way just as off-the-hinges, and you got Hi, Mom! It also contains an eccentric and funny soundtrack. imdb comment