污秽与愤怒

If nothing else, this is the only Sex Pistols film (there are now at least 3) to make explicit and in-depth reference to the band members' working class roots, and the way that experience informed their project. This alone makes the film worth seeing, as it explodes the myth, fostered no doubt by their PT Barnum manager, Malcolm McLaren, that the whole project was an exercise in cynical nihilism and money grubbing. As the band members tell it, nothing could have been further from the truth. I believe them.The film is cobbled together in large part from 2 previous Sex Pistols documentaries, "Rock 'n' Roll Swindle," (a McLaren project also directed, ironically enough, by F&F director Julie Temple) and "D.O.A," plus clips from BBS television and elsewhere that try to locate the Pistols in the political and social climate that spawned them. This effort, to give the Pistols a historical context, is by far the most valuable part of the film for those trying to understand how a bunch of working class stiffs, who could barely play their instruments, and who only released one album, could set off an explosion that reverberates in the music world--if increasingly faintly--even today.Best part of the film: footage from their last, secret gig at a palace in a working class district (they had been banned from appearing anywhere in England) before embarking on their ill-fated US tour. It consists of two performance on Christmas Day, benefiting the families of striking local firefighters, who had been out of work for many months. The attendees consist of the local lads and lasses, none of whom are "punk" in any apparent sense of the term.Before the Pistols performed, everyone eats Sex Pistols cake and ice cream; "Never Mind the Bollocks" shirts are stretched over the pubescent bodies of every bobby soxer. Then, after a thank you from the emcee, the Pistols launch into the searing "Bodies," its sarcastic refrain sung from the point of view of an aborted fetus ("I'm not an animal!/I'm an abortion..."). All the boppers dance like it's a sock hop, with the difference that everyone gleefully throws leftover desserts at one another. Steve Jones is shown playing guitar with his face covered in cake icing, beaming. In his reminiscence about the gig, Rotten grows wistful, saying it was easily their best memory as a band, and the last good one before it all fell apart.I never knew the guys were such sentimentalists.It's hard to believe that there once was a time when rock music could actually matter, when it was possible to actually escape the commodified rebellion that now sells Budweiser, Nike, and SUVs, when it was possible, however briefly to scare the pants of the political establishment. Young pop music lovers who swallow the meretricious rebellion of rap or grunge--whose self-important lyrics and idiotically monotonous rhythms make their authors rich off the weekly allowances of white middle class kids whose idea of rebellion is big loud subwoofers in the Corolla Daddy bought them for their 16th birthday--might profit from getting a glimpse of the Real Thing.The rest of us, who were lucky enough to have been there when history was made, and who can still recall the opening chords of "Anarchy in the UK" blasting all traces of "More Than a Feeling" and "Take It Easy" out of our speakers cabinets and into the first circle of music Hell where they always belonged, can enjoy the film for what it teaches us about the power of ordinary, thoroughly obnoxious people to make their own history, and ours.

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《雪中悍刀行》播出以来，吐槽声音不断。一说武打技术不过关，体现不出武侠剧的特色；一说滤镜不太合适，没有拍出女演员的美感；一说改编太多，好多名场面都被改没了。但是有一点却不能说不好，那就是张若昀。剧中，张若昀饰演的徐凤年知道老黄死后，他独自喝酒悼念老黄，他先是强忍着悲伤喝酒，然后再唱老黄常唱的那首歌，不觉间眼泪已经悄然落下，他低下头，用袖子擦干自己的泪水。这一段，他诠释得非常细腻，共情力十足。看完这一段，我就突然明白为什么《雪中悍刀行》的原著作者烽火戏诸侯要点名要让张若

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该片通过讲述柳氏家族的故事，展现了中国传统美食文化的魅力。冰晶糕作为代表中国传统美食的载体，具有极高的艺术价值和历史价值。

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中秋快乐！今年中秋国庆的八天长假很多人选择回家或者外出旅行，无论以什么样的方式度过假期，都希望你可以暂时放下压力，过得轻松愉快。对比大家的度假热情，国庆档也很热闹，电影题材从主旋律、犯罪、到爱情、喜剧、动画等等一应俱全。截止目前，国庆档电影总票房已突破亿。那么在众多选择中，我个人最期待的就是这部由张艺谋执导，雷佳音、张国立、于和伟、周冬雨主演的电影《坚如磐石》。于是第一时间去看了这部电影。扫黑题材相关的影视作品大家已并不陌生，这一领域也不乏质量上乘的佳作，如电视剧《狂飙

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