A celebration of the genre with interviews by many contributors - a gialli filmmakers.

剧情描述美国特务奉命调查一名科学家，并破坏他以细菌制造巨人的方法，使它不致落入苏俄之手。

Leave it to Italian sleazemeister Andreas Bianchi (here co-directing with his brother)to take a brutally violent and borderline misogynist genre like the Italian "polizieschi" and actually up the ante considerably. This movie begins with drug dealers trying to smuggle drugs into Italy sewed up in the body of a dead child(!), and it only gets more gratuitously violent from there. A brutal gang war is going between a traditional Italian mafia family and an Americanized godfather who has been deported back to Italy. Injected into this conflict is another Italian-American gangster, the protagonist (Henry Silva), and he begins to play the two rivals off against each other in the style of "A Fistful of Dollars" or "Yojimbo".
Silva's character might seem like the good guy, or at least the kind of anti-hero Clint Eastwood played in "Fistful" and other Westerns (and later in "Dirty Harry" which was a big influence on the Italian polizieschi). But the Silva character himself is quite psychotic when it comes to women, specifically the masochistic prostitute/mistress of the American gangster (played by Barbara Bouchet). The first time they meet he violently sodomizes her. And when she comes back for more he beats her with a belt. Now I have to admit the description I read somewhere of a naked Bouchet being whipped by a belt did not exactly dissuade me from seeing this, but it's not an accurate one. She is not naked (at least in that scene) and he literally beats her to a bloody pulp. Even her boyfriend, who otherwise is content to throw the promiscuous girl at his erstwhile partner, is horrified by the brutal beating and vows revenge.
This scene squanders any goodwill toward Silva's character (which may have been the intention, I don't know), but also toward the film itself--it's pretty hard to take even for someone like me accustomed to the casual misogyny of the genre. It certainly doesn't help that the actress is Barbara Bouchet, who along with Edwige Fenech and Rosalba Neri, was (and still is) one of the most popular European exploitation actresses of the era (although this probably would have been only marginally more palatable if it had been some anonymous Euro-bimbo). To its credit this movie at least can't be accused of glorifying any of its gangster characters like some other "polizieschi" tended to do. Still it might be a little bit too much for many viewers.

Opening with a funky 70's concert presumably in Italy, DEATH RAGE is an obscure Italian knockoff of the American action flick starring Yul Brynner in one of his final film performances. Brynner is really the only good reason to watch this movie, as there is very little special about it beyond that. Barbara Bouchet, Brynner's leading lady, is very sexy and does show a lot of skin, so there is some eye candy. Unfortunately, Brynner and Bouchet, in terms of acting, have almost no chemistry together (according to the trivia section at IMDb, they did not get along on the set--it shows). For those not familiar with Italian cinema during the 70's and 80's, keep in mind that the dubbing is never well done in these kinds of movies. The main focus is watching Brynner being a badass (which he does exceptionally well), watching Bouchet's body, and seeing lots of gunfights, car chases, and explosions. The plot is nothing new, and some of the dialogue is out-and-out stolen from other films. The special effects are standard for the time, and there is some animation featured during Brynner's flashback sequences (the "Death Rage" from the title). The movie follows retired hit-man Peter Marciani (Brynner), whose brother was, once upon a time, killed by the Mafia. He is lured out of retirement to hunt the man responsible for his brother's death, and travels to Italy, where he meets a goofy young wannabe named Angelo (Massimo Ranieri). Angelo shows him to his method for manipulating horse races, then takes him to a nightclub where Marciani is introduced to exotic dancer Anny (Bouchet). With his companions by his side, Marciani avoids death and struggles with his eye condition while trying to bring down the mob.

　　这位智慧而经验丰富的爱情艺术大师在年轻人去世前将他的知识和技巧传授给他。

所有的黑帮故事似乎都不能摆脱杀戮和复仇的套路，但这部电影却将黑帮的复仇升华为一次追求平等与自由的集体反抗。 　　纽约的黑帮主要由意大利裔的瓦龙领导的意大利派和爱尔兰裔的比尔（丹尼尔•戴-刘易斯 Daniel Day Lewis ）领导爱尔兰派组成。瓦龙被比尔暗杀后，其子阿姆斯特朗（莱昂纳多•迪卡普里奥 Leonardo DiCaprio 饰）被送进监牢。 　　怀着强烈的复仇愿望，阿姆斯特朗熬过了10年牢狱之苦。为了复仇，阿姆斯特朗隐形埋名加入了比尔领导的爱尔兰派黑帮。然而，随着他越接近比尔，就越发觉杀掉比尔并不能使所有迫害的人最终得到解脱，因为黑帮背后还有强大的政治力量支持……

　　 男主角是已退休的邦德爵士，正在备感无聊之际，他以前的上司M被杀，邦德乃从伦敦前往苏格兰探访M的遗孀，不料遗孀却企图勾引他，失败之后跑去当修女。邦德继续追查凶手，接触了一群形形色色的间谍，最后在皇家夜总会展开大对决。 　　影片中众多的噱头普遍偏于老式，但片中可称精彩的部分还不算少，伍迪第一次出场从一个形成逃到另一个刑场的段落、东德拍卖小黄色照片的拍卖会、如果你喜欢看大场面，那最后一个大混战的场面也许你会满意——真正是一场“混战”。 　　影片拍摄时，正是肖恩·康纳利的007大行其道之时，于是就在四部正式的007之后，有了这部“无厘头”版的007。其实，影片也是根据007之父伊安·弗莱明的原著改编，而且是早在第一部007《NO博士》之前八年就有改编版本问世的，只不过那时候007还是个电视上的小字号。 　　毕竟是那个时代大制作的搞笑片，影片中很多小细节虽然“笑果”不算惊人，但都是如今搞笑片中不多见的大手笔，而片中对于007系列作品的戏仿却启发了后辈们很多同类作品。像老邦德见到自己的秘书玛番妮，拥抱接吻后才得知，她是原来秘书的女儿，那周星驰的《国产007》中的同样段落恐怕就不是原创了，诸如此类的东西还很多。不过，不能不说，这部豪华搞笑片中的笑料，不是缺乏幽默感，就是有点过于老式，如今看来稍嫌温吞。 　　影片最大的特色就是明星云集，单导演就有五位，其中最著名的就是大导演约翰·休斯敦，他甚至还客串了片中的短命鬼M。明星中，老邦德是老牌英国绅士大卫·尼文，赌博高手爱弗林是英国“千面人”彼得·塞勒斯，像魔术师一样极富魅力的老千高手就是大名鼎鼎的奥逊·威尔斯，再年轻的有刚刚出道的伍迪·艾伦，他从这个刑场逃到那个刑场的段落之让人想起周星驰刑场脱困的那一段，而他控制世界的大阴谋也有着典型的伍迪特色。所以，即使影片稍嫌落伍与时代，但这些大明星的风采还是颇值得一看的。

破产后，阿普利亚企业家切柯(切柯·扎罗内 饰)为了逃避追债而离开非洲，他在一家旅游胜地找到了一份工作，在那里他遇到了爱贾巴(曼达·图雷 饰)和乌马尔(苏莱曼·西拉 饰)，后者是一个热爱意大利现实主义电影的服务生。当ISIS恐怖分子袭击该地区时，切柯别无选择，只能和他的朋友再次迁徙...

肉类工厂经理安德烈亚打发太太瓦莱里娅去度假，他好跟情人朱莉娅鬼混。没想到太太也是去会情夫的。不过瓦莱里娅并不知道，那个自称伯爵的情夫其实只是个经理助理，而且正是安德烈亚的助理。更糟的是，这两对偷情男女不巧住进了同一间酒店……

被一伙残忍的罪犯抓住后，迪亚博利克和金科面对面。迪亚博利克被关在牢房里，没有出路，肯定会面临不可避免的死亡，他向检查员透露了自己神秘的过去。与此同时，伊娃·康德和阿尔蒂娅正在拼命寻找他们的男人。这两个对手会相遇吗？

在母亲离奇去世后，一名少女很快开始怀疑她新近丧偶的继父可能与此事有关。

阿拉丁和美丽的公主，维齐尔和哈里发，地毯和爱情魔法，不忠的妻子和愚蠢的丈夫-一切都混合在这部有趣多彩的电影中。

皮诺是一个年轻人，他和他的父亲达米亚诺（共产主义革命者）以及他的伴侣纳丁住在阿西西。一天，皮诺看到玛丽亚·特蕾莎在学习拉丁语，开始给她上课。很快他们坠入爱河。