墨西哥超现实吸血鬼片，导演Juan López Moctezuma是JODOROWSKY大师的好友，曾经参与杨大师多部经典CULT片的拍摄工作。A beautifull artist (Cristina Ferrare) moonlights as a vampire while in Mexico, killing lovers of both sex. It seems that the only person who has any chance of stopping her reign of terror is her father (John Carradine), who's also a vampire. Model and future TV host Christina Ferrare is a lesbian vampire whose victims are dying to quench her thirst for blood. Mexican authorities and her father (John Carradine) try to come between Ferrare and her next target's neck in this horrifying shockfest.Juan Lopez Moctezuma's MARY, MARY, BLOODY MARY (1975) is one of those movies you watch and, after mentally cataloging all the things wrong with it, realize how cool it really is... mostly because of all the things you thought were wrong with it. Cristina Ferrare is such a Pamprin headache of an actress, as stiff as a celluloid collar, and yet she does create one of cinema's most interesting vampires. In many ways, Mary couldn't be worse at what she does - while the early murder of a man interested in more than her paintings goes off smoothly (Miss Thing slyly sliding a hairpin out of her chignon during female superior sex and using it to lay open his jugular), her next victim (a fisherman, whom she has attempted to drug) nearly fends her off until she takes him down in one of the most ungainly vampire attacks of all time.Elsewhere, Mary proves herself a complete chicken shit in moments of tension, as when she breaks down in big boo-boo tears when confronted on a country road by a mysterious figure clad in black. She's lachrymose, emotionally withdrawn, sexually disengaged and her art sucks... what a perfect portrait of an Ugly Americana spreading the white man's poison south of the border. It's in this context that the cheapness of the production, the harsh 70s decor, the cold, perfunctory performances and the wall-to-wall Muzak score actually begin to seem like grounded artistic choices and have a lot to do with why I keep coming back to this one.MARY, MARY, BLOODY MARY ends in a surprisingly cynical bloodbath of ultraviolence that leaves only the pathetic title character standing... or in reality on her knees sucking the life out of the one person whose love she had relied on to point her to some kind of normalcy. Not enough vampire movies use awkwardness and incompetence as character traits to define their bloodsuckers and that's too bad. George Romero had similar ideas for MARTIN (1976) a year later but portraying vampires as just folks is definitely the horror road not taken.
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该剧是一部描绘新型贩毒活动的警匪片，故事紧张刺激，气氛悬疑重重。影片通过生动的描绘展现了毒品犯罪分子们的暴力和残忍，以及警方在打击贩毒活动中的努力和智慧。
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在爱比米修斯的过失之后，普罗米修斯从赫菲斯托斯与雅典娜那里盗取火和工具的能力给予人类。从此，技术对象成为了人类赖以生存的必需，哲学家斯蒂格勒（BernardStiegler，—）将其书写为人类固有的“代具性”及“缺陷存在”。而脱离了这种对象性认识，人也不再为人。《奥本海默》的电影开篇使用埃斯库罗斯《被缚的普罗米修斯》的神话戏剧典故作为预见性的引论，注定了本片与政治悲剧、技术思考的语境无法脱离。奥本海默受到安全听证会的传唤并被剥夺安全许可，犹如普罗米修斯般遭遇宙斯之审判，主观镜
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最近重温《第八号当铺》，说是重温，其实根本就是第一次看，小时候记忆太模糊，根本不记得这部剧讲的什么<图片> 一发不可收拾爱上了韩诺，亦正亦邪，笑起来暖爆，严肃的时候酷爆，浑身满满的安全感，要说缺点就是情商有点低，总是不懂女人的心。可能这跟他典当爱情有关吧。 自从集韩诺被烈火焚身后，直接跳到了集，不过再次登场时，莫飞和邪恶的韩诺哪一个感觉都不对，这就遗憾了，直接跳到大结局，大概有分钟真正的韩诺回来了。 追了天的剧，我以为我会从第一集看到最后集，但是没有韩诺的第八号当铺在我眼里不精彩。我不会是爱上了这个男人吧，大半夜不睡觉，在这里感慨。 最后一句，如果我是阿精，我也会选择韩诺。韩诺，一个温暖的名字。
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第一次写影评，真得很喜欢这部《雍正王朝》。前两年在哔哩哔哩陆续看过很多经典片段，比如康熙传位、八王逼宫，反复品味，似乎悟出了一些“道理”；后来因为没有时间，只得看系列解说（推荐up主的解说），感叹真是一部好剧。最近在美国听朋友说这部剧由其母制片，由其父编剧，兴趣又来，茶余饭后，一周左右，竟然完整看完了一遍。我看剧不多，我觉得评价一部作品的标准，可能是：是否可以给不同观众以不同的体验。《雍正王朝》做得很好：喜欢历史的人可以了解康雍乾盛世一些背后的故事；喜欢政治的人可以
