大武生

大武生

第1-20集

10.0 |06月04日 |第60集完结
简介:
清朝末年,孟氏一族遭摄政王灭门,惟有小儿子孟二奎被大武生余胜英和徒弟关一龙所救。当年余胜英名满天下,可是却遭到岳江天的挑战,最终败北并丢掉摄政王赐给他“武生泰斗”的金匾,从此一蹶不振。多年后,关一龙(吴尊 饰)与孟二奎(韩庚 饰)已经长大成人,二人练就了一身本领,发誓要替师傅报仇。关、孟二人在上海初次登台,便战胜武生岳江天,为师父夺回“武生泰斗”的金匾,名声大震。而岳江天却不堪羞辱,当场自尽。岳江天的女徒弟刀马旦席木兰(徐熙媛 饰)与师父感情甚好,在亲眼见证师傅的死之后对二人恨之入骨,但为了保住岳家戏班,她最终答应戏院老板与关、孟二人同台演出。自此,在歌舞升平的大上海,一段关于报复与阴谋的故事拉开了序幕……  本片由知名音乐人高晓松执导。
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更新时间:04月17日
主演:Paul Naschy,Julia Saly,Lola Gaos
简介:PANIC BEATS begins with a totally nude woman with welts on her body, running through a misty forest full of decayed skeletons. A knight on horseback is chasing her, and we soon learn that he is Alaric de Marnac (a wicked character Naschy first created for HORROR RISES FROM THE TOMB), viciously killing her for her unfaithful ways. After the credits role, we are taken to the present where a descendent of Marnac named Paul (Naschy) is married to the wealthy Geneviève (Julia Saly) was has some serious heart problems. Paul decides to take her to his ancestral home in the country for some peace and quiet, but the superstitious-filled setting opens a Pandora’s Box of terrible occurrences.  We soon discover that Paul is a real son-of-a-bitch who plans to scare his wife to death, planning to control her fortune and continue his secret affair with seductive bad girl Mireille (Silvia Miró), who happens to be the niece of the tarot card-reading housekeeper, Mabile (Lola Gaos). Paul’s malevolent scheme works, but he still has to worry about an additional money-hungry mistress (this guy really gets around!), the unforgiving Mabile, as well as new fianceé Mireille who might be hiding a thing or two herself. More grisly murders follow, and the ghost of Marnac returns from hell to punish the most despicable human character in the film.  PANIC BEATS was also written by Naschy (under his real name Jacinto Molina) who injects the film with an old-fashioned spooky house motif, beefed up with a modern movie sense of violence and sexuality. The film offers nothing too innovative storywise, and even Naschy admits on the disc’s extras that it was partly inspired by GASLIGHT and REBECCA, but he seems to just toss in a hodgepodge of exploitation and horror ingredients, while delivering a stylish and enjoyable effort with a number of twists and some genuinely chilling moments. The camera shots and lighting are both effective, and there's even does a cool set-up (much like what Freddie Francis did in THE SKULL and THE CREEPING FLESH) where we see the point of view of Marnac through his dark helmet as he stalks his female prey. Graphically, we are exposed to everything from a plate of bloody eyeballs, to victims being beaten relentlessly with the various Medieval weapons affixed on the house’s walls (for example, someone is axed in the stomach, followed by the soaked entrails oozing out!). Naschy’s most frequent 1980s leading lady, Julia Saly, is not given much to do, but with her offbeat looks, is a nice presence nonetheless. The prominent female star here is Silvia Miró who is seen in the buff frequently, and she certainly makes for some well-appreciated Euro starlet eye candy. Naschy himself is very good in the film, putting on conniving facades, carrying a number of women on a string,
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