胆包.天

剧情简介

Umberto Lenzi is undoubtedly the ki_@ ng of Italian cri$. me mo* vies, but u*nf@\-ortunat@ely; S%yndicate Sa
dis-(`ts i;_[s: n%ot `th,!e best; ex )a
/mp :les of h_/ i s^ work in t%his genre(.+=@ Lenzi's crime flicks ten--
d to be a cut `_abov;e the rest! because he 
[makes f=]i//lms ; based on -\s+;+t: or/:(\+ies with a poi#nt,] ; a )nd they do /: _n't la:ck direction;^. but t)his film feels a bit too wayward #=to $/fully fit  [w$@ith the@ r@e.st= of \!=hi.s stuf;_=f. The fil-m #
$tak- es obvious i(?nfl-ue`nce from Sergio Leone's landmark w:`
es+\/-tern `;'A F#[i)+_!stf[,ul o(f Dollars' (w[?.hich i/n turn, t *ook(# influence from Akira Kurosawa's l.:_andma;`)rk ?samura i flick Yojimbo), #in
(; that it fe/ a -$tures two %\warr$
^in%g fa:milies\  and =*a_ st;_,`rong cha`
ract
er) at `the . c% ?entre.- The crime @that L=,
en*$!(zi focus@es on is kidnap),ping/\, and \^`\we centre on$ a/ characte?r *\@ca: lled 'R;am#^
bo'. =/^ Rambo @!i-s dra)*gged into the war bet.we_=en the t
`!wo families a:f@t@e$?/r his brother=/ is killed because o-%/[f
it. \:Ram@,bo  
uses his brains a-+nd brawn to pit th e two families against o =ne anoth:er, in t \!^he( hope of gaining re venge for #[his bro=\
_ther's ^death, rescuing a yo^
]un];g boy tha ;t they)'ve )(#kidnapped`, and ult )imately lettin (g the two =sides destr o! -%y one another.　　The film's) biggest as(set i+s#,! undoubtedly \,%Tom$ a] s Milian. Milian was;? put to grea=$t use ,_by _`(L
enzi in al/]? mo st all of!-*, his crime =\?thrille`] rs]. The `:rang]e of characters he has played for Len$%\zi is  =im[^#me+,nse,: and this one . -^i%s easil:y . ^*;one[@ ]-o!% %f the coolest. The character @!is ca, ?lle_ d R=)ambo, which immediatel\y spra[$ng\^:]? to mind the popular Sylveste).r Stal,;l(,one character?-` - b
-
ut for onc^?e, the \$%It  al:]ians actua/;lly haven't s`- tolen this nam ^e as  -Synd,ica@;te $]Sadists was released$% fi$,

rst ! +.As usu\(+[al,)%_ the film is wick[edly en
tertaining, as.$ we get to watch Milian /%ge]:;t himsel$\(f in*volv$ed in the usu+ al /a@rra`$\y of *ca%r c +ha
^!ses, shooto%,:uts and bra)]wl. s.  Lenzi has+` g^[ `ot.
 him ri+ -!ding a motorbike this t .^ime round,#` an] d ev?(ery scene fea^ t`/uring it an@!d Mili,an is= [^a : real stand_ o;?_ut! However, t$ he/
= ( film o $ften fe+ /els like it doesn't really ha]\ve ^an:!y[`where to go, and thi$_-s mea- ,ns th[)at the@$ running time is^)= stretched out more than it! should* be. Compared to the c=`rime f il$ms o %f +[o,:_ther Italian d#@irectors, Syndicat[)e ?  Sadis]ts i?%s more -;than ab+,ove av*erage; but`_ @in relation_-[ to Lenzi crime flicks such as Almost Human and The[[:( Cyn:(ic, The R at and Th)e F:ist - it doe[+s@n't stand tall as one)# o-$f Lenzi_' ]] s +/best.; Sti;@ ll, if you 're loo!%king( for n :in +et(y mi,nutes of te-stostero_ne %fuell!?)ed mayhem - Syndic_-? ate@@ Sadi
 sts\\ wi!ll (+s`.uffice!