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給影片評(píng)分:
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還行

瘋狂輪滑

同類型

  • 1080P
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  • 第6集完結(jié)
  • 1080P
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  • 1080P
  • 1080P

同主演

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劇情介紹

  • 這部電影于英國1975-06-25搬入銀幕,諾曼·杰威森執(zhí)導(dǎo)。影片講述了在不久后的2005年,一種名為“輪滑球”(Rollerball)的新興競(jìng)技運(yùn)動(dòng)以其超乎尋常的驚險(xiǎn)、刺激吸引了大眾的注意力,成為一大體育娛樂熱點(diǎn)。每當(dāng)賽季到來時(shí),數(shù)以萬計(jì)狂熱的觀眾都會(huì)瘋狂地為自己支持的隊(duì)伍下注,然后守在電視前觀看緊張的現(xiàn)場(chǎng)轉(zhuǎn)播。然而,在這項(xiàng)運(yùn)動(dòng)的背后,卻隱藏著黑暗殘酷的內(nèi)幕。輪滑球融合了冰球和馬球兩種運(yùn)動(dòng)項(xiàng)目的特點(diǎn),以個(gè)人技巧和團(tuán)體協(xié)作為基礎(chǔ),比賽規(guī)則寬松,具有很強(qiáng)的對(duì)抗性。而且在該運(yùn)動(dòng)中,摩托車也是比賽器械之一,賽手可以駕駛摩托車做出任何動(dòng)作,甚至允許一名賽手騎摩托從對(duì)方賽手身上碾過,這使輪滑球運(yùn)動(dòng)不僅僅限于“驚險(xiǎn)”、“刺激”的范疇,而是越發(fā)顯得暴力、野蠻了——球場(chǎng)上,可能隨時(shí)會(huì)有球員在對(duì)抗中喪命。因此,國際體育團(tuán)體嚴(yán)格限制這項(xiàng)運(yùn)動(dòng)的開展,使它成為只局限在土耳其、哈薩克斯坦等地的半底下運(yùn)動(dòng),但這種局限并不能約束這項(xiàng)運(yùn)動(dòng)的殘酷性向更可怕的及至發(fā)展。亞利?!づ镣型耍ㄗ尅だ字Z)是一名俄國大財(cái)閥,他不僅擁有一支自己的輪滑球隊(duì)——騎士隊(duì),而且還收購了整個(gè)輪滑球運(yùn)動(dòng)的組織權(quán)。為了使這項(xiàng)運(yùn)動(dòng)給他帶來豐厚的利潤,野心勃勃的帕托威克對(duì)比賽規(guī)則和組織形式做了一系列的改革,使得輪滑球比賽酷似古羅馬的角斗,變得更加殘酷、血腥,從而越發(fā)具有吸引力和“觀賞性”;同時(shí),在帕托威克的經(jīng)營下,輪滑球運(yùn)動(dòng)的規(guī)模也在不斷擴(kuò)大,各國的職業(yè)球隊(duì)和球員越來越多地加入聯(lián)盟中,整個(gè)比賽的水平也越來越高。在聯(lián)盟的眾多隊(duì)伍里,帕托威克的騎士隊(duì)是一支技術(shù)高超、所向披靡、神話似的的隊(duì)伍。在隊(duì)長(zhǎng)喬納森·克羅斯(克里斯·克萊恩)和靈魂球員馬庫斯·瑞德里(LLCoolJ)、奧羅拉(瑞貝卡·羅米吉-斯塔摩斯)的努力下,騎士隊(duì)在聯(lián)盟賽中取得了無可匹敵的積分,贏得了眾多球迷的追隨。但這一切卻不能令球隊(duì)老板欣喜若狂,因?yàn)樗诤醯闹皇乔蜿?duì)能否晉級(jí)、能否給他帶來滾滾財(cái)源——為了達(dá)到這個(gè)目的,他可以付出一切代價(jià),包括球員的性命。目睹賽場(chǎng)上接連不斷的悲劇和帕托威克的冷酷無情,克羅斯和隊(duì)友們漸漸覺得良心不安。也許,他們應(yīng)該做些什么來揭露這項(xiàng)野蠻運(yùn)動(dòng)背后的罪惡——盡管這將給他們帶來殺身之禍……。豆瓣評(píng)分達(dá)到了 6,展現(xiàn)了復(fù)雜的人物關(guān)系和讓人記憶深刻的故事情節(jié)。

    Thoughtful dystopian vision
    Rollerball is a thoughtful dystopian vision directed by Norman Jewison.The film explores freewill in humanity. At the centre of its excellence is the character of Jonathan E and James Caan's performance. Jonathan does not start a rally, make passionate public speeches or even show much outward emotion. He is simply faced with an injustice and it's like an itch he can't scratch. It is just not in his nature to accept it, he can't. Jonathan is part of a brutal game used to teach society a lesson and yet it is his skill in the game that creates his identity, not the rewards or luxuries. The action and game scenes themselves are surprisingly coherent and well paced. While lacking sophisticated special effects, the escalating violence is far more shocking than the cartoon action of modern CGI films. The action serves to illustrate the themes, not to titillate or excite. The direction is so skillful from Jewison that the final action scene, a game that ends in total carnage, and contains almost no dialogue, serves as a clear conclusion of the film's philosophical thesis. The scene is full of masterstrokes that play effectively against type. Jonathan walks through the expectant locker room silently, without making any of the motivational speeches we are expecting.Personal note: I first saw this in the early 80s and rewatching this excellent piece of genre film art makes me realise what an abomination the modern remake is.

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