全球联合的缉毒行动使美洲毒贩大受打击，黑手党党魁托尼决定起用华裔罪犯洪刚另辟亚洲新路线，将金三角的毒品经中国转运到美国。特警队的女将们在队长铁花和孟莉的带领下与洪刚一伙展开了一场殊死搏斗，毒贩一一就擒，惟独洪刚侥幸逃脱，返回美国。美国警方将洪刚逮捕并通知我国将其押解回中国，不料他又再次逃脱。铁花从中国赶往美国，汇同其他警察一起，经过激烈打斗，终于消灭了汤尼的贩毒集团，并将洪押解回国。

阿卡内亚大陆原是龙人族之王梅迪乌斯所统辖之地，后被杜鲁亚帝国侵略，保护大陆的阿卡内亚王国也被恐怖的暗黑龙消灭，人们生活在恐怖和绝望中。但是，奇迹发生了，在阿里迪亚的小村庄，有个叫安利的年轻人历经千辛万苦后以光之剑法尔西昂成功打到了暗黑龙梅迪乌斯，重建阿卡内亚王国，恢复世界的和平。然后以阿里迪亚王国为首，建立许多新兴国家。杜鲁亚战争的100年后，在杜鲁亚，梅迪乌斯再度复活。吞并邻国马基尼亚和古鲁尼亚，再度建立了杜鲁亚帝国，与同样有野心的加丹的大祭司卡内夫联手攻击阿卡内亚王国。阿卡内亚誓死抵抗，但是在古鲁尼亚的名将，黑骑士卡谬和梅迪乌斯的领导下，节节败退……最终阿卡内亚灭亡了,王室成员除公主妮娜侥幸逃出外全部被处以死刑。继承了安利血统的阿里迪亚国王格内利亚斯为了打败梅迪乌斯取出了传说中的神剑法尔西昂，率军出征，却不幸遭到同盟国古拉的背叛而灭亡，格内利亚斯也被卡内夫所杀，神剑法尔西昂落到了卡内夫手里。只有14岁的王子麦尔斯靠着他的姐姐艾莉丝公主之助，才脱离了险境，向处于边境的岛国塔利斯逃去……被杜鲁亚帝国赶出祖国的阿里迪亚王子麦尔斯,在老骑士谢根率领的几名骑士的保护下,好不容易来到了东边的岛国塔利斯。塔利斯王国虽然是一个连骑士团也没有的边境小国,但塔利斯国王仍将东边的城寨交给他们,尽可能地给与援助,对父母双亡,姐姐被帝国抓走的麦尔斯十分热情:"麦尔斯王子,我很理解你思念姐姐的心情,可你只有14岁.现在和帝国作战还太小.再等一等,先在这里积攒实力,等待时机吧."在这里麦尔斯住了两年,就在他快要到16岁的这一天……

阿保（雷宇扬 饰）、阿东（陈小春 饰）、螳螂（郑浩南 饰）、勇仔四人是社团内的刀手，专事清除社团的敌对人物。四人入行多年，在社团内地位颇高的同时也要面对无休止的杀伐跟其他社团的敌视。阿东行事稳重，投资各类事业，为几位兄弟的未来多有筹划；阿保做事极端，为螳螂出头得罪了尖沙咀大哥蛇皮，阿保发现女友艾薇（蒙嘉慧 饰）与阿东的暧昧视频，兄弟感情出现了嫌隙。阿东等人谋划除掉蛇皮，却被老大公子（曾江 饰）向警方出卖，侥幸逃脱的阿东、阿保放弃偷渡，返港为死去的手足报仇。

*Shinjuku Mad* was one ofKoji Wakamatsu's six films from 1970. Grim and gritty, stark and steady, burdened with anti-moralizing, generously padded with sex, and totally redeemed by a soundtrack that needs to be released NOW. I knew nothing about this film, loading it up on to my laptop, and every last one of this film's sixty-sixty minutes kept me riveted.Bear with me. The film opens with the band cycling through a jazzy rave-up, the black and images depict dead Japanese throughout a modern city. From the alleyways of the slums, to center of the park, you catch glimpses of bodies everywhere. This introduction is capped off by a lingering shot of a blood-soaked naked woman, face down. By this point, the band has reached a sort of peak. There's a cut, the band changes the direction of the song a bit, and then we're treated to a series of exterior shots from downtown, the lunch hour, maybe. You see a lot of storefronts and stairwells, people moving about. All of the people in these splices are done in negative image.What follows can only be described as harrowing. After the credits, the reel switches to color. We're treated to the on-screen stabbing of a young man in a toga, his attackers strip his special lady-friend of her toga, spend about two minutes smearing her breasts with still-warm blood, and then take turns raping her. She doesn't seem to put up much of a fight. The scene is lensed with all of the enthusiasm of a television spot for a whole foods market.Well, that's a fucked up way to start a movie. If you're still reading, I'll have you know the brutality eases up a little, but the camera's tendency to seek out each scene's more lurid details is relentless. The band never lets up, either. Another constant feature of the film is the protagonist's alienation from society. That's a pretty dated-concept, in a way. This film is cashing in on what could loosely be called the Existential demographic in 1970's Japan. Parts of it could have been written by Oe. Others by Mishima. It definitely, at times, addresses a bit of that lingering air of revolution, but more on that later.The father of the kid stabbed in Technicolor shows up in the nest reel, in the same apartment his son was murdered in. This confused, grieving father asks a totally baked Shoko Asahara for information about the events leading up to his son's death. The long-haired no-goodnik is toking on a Sharpie-sized doobie. He gets so fucking high he passes out and the dad is left there in the empty apartment, getting a major contact-buzz.So, the plot is basically that kind of exchange in larger and larger settings, intercut with glorious shots of the disillusioned father walking through industrial slums. The father, searching for the "Why" to his son's death goes on his quest and pisses just about everyone he comes into contact with off. He goes into subway stations and totally kills some beatniks' buzzes. Then he bullies a Hare Krishna ROCK AND ROLL SUPERSTAR and his belly-dancing percussionist at a park. Then he heads off to a bar, and we're treated to what must have been Tokyo's Greatest Garage Band getting low-down and sleazy here. This scene pretty much sums up what the film is about. As you dig the scuzz and the fuzz, the camera catches all manner of degeneracy and wanton reefer-use. And the bar has no less than three groups of people making out. And they get excessive with the groping.Eventually, the father catches the ringleader of the vicious band of murderer-rapists. "Shinjuku Mad," is his name. After an unbelievably long and convoluted exchange between the protagonist and Shinjuku Mad, it comes out that Mad and the boys are rebelling against all of Japan. It's open season on everyone but them. His son was only a casualty, nothing personal. Their intent is to go on rebelling against society through random acts of violence against people and property.After going through all the trouble of finding Shinjuku Mad, the old man's mind is blown by revolution for revolution's sake. After a few pummellings, he manages to turn the fight around. He winds up leaving with a nude girl that had been tied to a post for the entire scene.He goes back to the apartment his son was murdered in to find his special lady-friend naked with six other dope-smoking cats grooving on free love and blue balls.He decides he's happier with Shinjuku Mad alive and kicking, the band is at another one of its high points, and the camera pans out to the railroad yard, telephones wires, and the bare sides of modern buildings.That was Japan, thirty-seven years ago.