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奈雪影院

黑子的篮球·终极一战
日本日语2017
  黑子哲也 及 火神大我 加入了诚凛高中篮球队。相对于有着绝佳球感的火神,黑子却是一名在场上“几乎没有存在感”的球员。但其实,黑子曾是篮球强校帝光国中篮球队的一员,曾与被称为“奇迹时代”的5位天才并肩战斗,以“梦幻的第6人”的称号活跃在篮球场上。“影”与“光”的二人搭档成为校队主力,带领诚凛高中成功打进了冬季选拔赛,并在选拔赛中击败其他拥有“奇迹时代”成员的各路强队,获得了全国冠军。 就在二人升上高二后的那个暑假末尾,由一批18岁左右的美国篮球天才组成的街球队伍“Jabberwock”来访日本,并与日本男篮国家队进行友谊赛。他们以压倒性的实力让日本队惨败,还嘲笑了他们一番。 此举激怒了诚凛高中篮球队教练丽子的父亲景虎。这位曾经的日本篮球国手决定集结黑子与火神,以及“奇迹时代”的其他成员,临时组建梦幻球队“VORPAL SWORDS”,誓言向“Jabberwock”复仇! 一场最激烈的决战,就此打响!

奈雪影院

极度恐慌1983
西班牙其它1983
  PANIC BEATS begins with a totally nude woman with welts on her body, running through a misty forest full of decayed skeletons. A knight on horseback is chasing her, and we soon learn that he is Alaric de Marnac (a wicked character Naschy first created for HORROR RISES FROM THE TOMB), viciously killing her for her unfaithful ways. After the credits role, we are taken to the present where a descendent of Marnac named Paul (Naschy) is married to the wealthy Geneviève (Julia Saly) was has some serious heart problems. Paul decides to take her to his ancestral home in the country for some peace and quiet, but the superstitious-filled setting opens a Pandora’s Box of terrible occurrences.  We soon discover that Paul is a real son-of-a-bitch who plans to scare his wife to death, planning to control her fortune and continue his secret affair with seductive bad girl Mireille (Silvia Miró), who happens to be the niece of the tarot card-reading housekeeper, Mabile (Lola Gaos). Paul’s malevolent scheme works, but he still has to worry about an additional money-hungry mistress (this guy really gets around!), the unforgiving Mabile, as well as new fianceé Mireille who might be hiding a thing or two herself. More grisly murders follow, and the ghost of Marnac returns from hell to punish the most despicable human character in the film.  PANIC BEATS was also written by Naschy (under his real name Jacinto Molina) who injects the film with an old-fashioned spooky house motif, beefed up with a modern movie sense of violence and sexuality. The film offers nothing too innovative storywise, and even Naschy admits on the disc’s extras that it was partly inspired by GASLIGHT and REBECCA, but he seems to just toss in a hodgepodge of exploitation and horror ingredients, while delivering a stylish and enjoyable effort with a number of twists and some genuinely chilling moments. The camera shots and lighting are both effective, and there's even does a cool set-up (much like what Freddie Francis did in THE SKULL and THE CREEPING FLESH) where we see the point of view of Marnac through his dark helmet as he stalks his female prey. Graphically, we are exposed to everything from a plate of bloody eyeballs, to victims being beaten relentlessly with the various Medieval weapons affixed on the house’s walls (for example, someone is axed in the stomach, followed by the soaked entrails oozing out!). Naschy’s most frequent 1980s leading lady, Julia Saly, is not given much to do, but with her offbeat looks, is a nice presence nonetheless. The prominent female star here is Silvia Miró who is seen in the buff frequently, and she certainly makes for some well-appreciated Euro starlet eye candy. Naschy himself is very good in the film, putting on conniving facades, carrying a number of women on a string, 

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