胆包" 天
剧情简介
Umberto L.e>n[%zi&>] . is undou "* bte@. dly th$e king of Italian) crime\, m>ovi=*?es, but un)"fortunately; Syndicat @ e Sadists is=; not :&<"t>he bes[@t examples of his work $()in this genre. Lenzi)= 's c:rime fl@[?\icks t*end to be a cut above the=/" !;;res *t/ .+because@* he> m? >akes films&$ based on! s= _tories w_%@ith ( a poi/ `%nt, a& '@nd >!they don't l) .:ack d /i rectio@,n; but t>:&his- f>'@^@ilm fee"--l /s [(=[a bit too wayward %to fully fit\_ with the re[;st of !^h#<-i_]s s [tuff. The film tak-es obv#\/ious influe ;+nce fr<+ ]o);m Sergio Leon+/e"'s landmar k western?$ 'A F#\istful _=of +/Dollars.!:%' (which + in tu@: rn, _[]took infl!#&-uenc*. e: f. >rom A?&kir$" a Kurosawa's landmark samurai flick@ Y](ojimbo), i? n"* that =i$t fe$atu#res `+!t@ wo ]warring families-=*; an%d a str];ong characte=:!r ) at the centre. T =`he\ crime that Lenzi focuses on ? is kid^ !nap;&pi'n!g, (+an '`d we / ^cent re '?/=on a character called[: ?'Ramb=?)o'. Rambo is dragg.ed , $ into t*he war /between th"e two[+, families after his #brot_*her is '$kill e`=% $d becaus( /e of* it. Rambo uses his b :!rains and br: awn to pit the two fami` lies ag/ainst one another, in the hope of gaining re(+[venge f" or ,/his brother's *%death, "%`re_)?sc/@uin)`g a y->oung boy tha`;_t the @y^$)'ve: ki*-dnapped, (a@/ nd ultimately let=%>*ting the two sides destroy#+@ o^ _<_ne ),"anothe-r. T+ he film's biggest asset is un[ @) doubtedly T_)omas -` Mili? #an. ^#*Milia-_(#n was put to gr ,eat use $ b@y Lenzi i]] n alm"]os?-;t al`;l of hi]\s crime % -thr/)i-"ll?<ers. The #=> r>*a.= nge\, of chara? ;ct./ ers (:he;( has p(layed =(+f;.or Le;/nzi is im men/-se, and?_' this one i ^ s% '[ea` sily o>ne of t -he coolest. The character is calle'( d Rambo, which imm \ \e*) *di$"(ate_#ly s"=(\pran ;g to mind th/#e popu_.-lar Syl_[vester Stallone ch*a![racte`r - but for on# ce, ?; <th e I![talians actually; hav^#e :!:%n' t stolen th(is n ame@ a;s Syndicat'e Sad?*+-ists was released first! As _usual, t$#he film is w?% ickedly entertaini * ng- , as we get; to watch Mi' l<ian get -& &.himself%/ i?*nvol=:v( e[d* $ in & the u:/:.sual#> a.rr=ay of car cha:>+ses, sho;<otou^;ts`;`!! and (/b! rawls, ].,( Lenzi has got h$?im< ridi!` ng a#)% motorbike this time round, '&and ( every &#scene featuri*<:ng it and Milian is a$?[ r :^eal stan",d'<,o-?ut '! H_:owever, :?;%-t he film&] often &feels- like '$it doesn't rea_l`,-%ly have a% nywhere to +!#g[o, #-`and this mean s th #at the running ti#, me is stre tched ou t more than it should be. ,+Compare$ d to the cri-[: me films, o&!]f ot@her Italian [ ^ directors=, S> +?yndica-\.te Sadis- ts .:?:i;%<'s more+` than above #-average; but ;% in relation to ? Lenz;i crime flicks such: as Almost Human and The Cynic, The -\Ra t? ! and *@Th@!$;e F:ist /) - it do \-esn't stand tall as one o:$ \f Lenzi's bes .t. Still, if y, ou're \ looking f* %or\ ninety m<` inutes of @$t ">e^*stost ^_erone fuelled mayhem -/ $ Syndi["cat$?!,e Sadists! wi!l "`l &%:&suffice!