Umberto Lenzi is undoubtedly the king of Italian crime movies, but unfortunately; Syndicate Sadists is not the best examples of his work in this genre. Lenzi's crime flicks tend to be a cut above the rest because he makes films based on stories with a point, and they don't lack direction; but this film feels a bit too wayward to fully fit with the rest of his stuff. The film takes obvious influence from Sergio Leone's landmark western 'A Fistful of Dollars' (which in turn, took influence from Akira Kurosawa's landmark samurai flick Yojimbo), in that it features two warring families and a strong character at the centre. The crime that Lenzi focuses on is kidnapping, and we centre on a character called 'Rambo'. Rambo is dragged into the war between the two families after his brother is killed because of it. Rambo uses his brains and brawn to pit the two families against one another, in the hope of gaining revenge for his brother's death, rescuing a young boy that they've kidnapped, and ultimately letting the two sides destroy one another.
The film's biggest asset is undoubtedly Tomas Milian. Milian was put to great use by Lenzi in almost all of his crime thrillers. The range of characters he has played for Lenzi is immense, and this one is easily one of the coolest. The character is called Rambo, which immediately sprang to mind the popular Sylvester Stallone character - but for once, the Italians actually haven't stolen this name as Syndicate Sadists was released first! As usual, the film is wickedly entertaining, as we get to watch Milian get himself involved in the usual array of car chases, shootouts and brawls. Lenzi has got him riding a motorbike this time round, and every scene featuring it and Milian is a real standout! However, the film often feels like it doesn't really have anywhere to go, and this means that the running time is stretched out more than it should be. Compared to the crime films of other Italian directors, Syndicate Sadists is more than above average; but in relation to Lenzi crime flicks such as Almost Human and The Cynic, The Rat and The Fist - it doesn't stand tall as one of Lenzi's best. Still, if you're looking for ninety minutes of testosterone fuelled mayhem - Syndicate Sadists will suffice!
好烂俗啊，大杂烩一样的。。。
monsters都是night creature, 男主就贝尔蒙本蒙
4，父爱如山。
一，凯尔莫罕被踏平，猎魔人被鄙视一点都不过分。
-“拜托，我都快70了”
这电影把cult和喜剧结合得太好了，血浆横飞得同时下一秒又搞起来了！哈哈哈哈哈哈，结尾直接变黑人演员了也是够了
1.没有正义：为了赚钱，术士用炼金术不断培养新的怪物，其中一个小狐成精了，也想用炼金术培养自己的精灵；女巫小时候目睹亲妈被猎魔人杀死，处心积虑准备了这场复仇战；2.话太多了，属于话唠型的。2022.6.10
1:赶工痕迹很明显 横向对比《恶魔城》战斗帧数明显低了不少且无意义
北欧粗线条硬核搞笑无脑嗨片 基本上没啥好评价的。
久违的坐高铁看电影经历
“死亡拯救婚姻”，结局将这种黑色幽默推向了高潮，要不是这个略带讽刺的结局实在爆笑，此片绝对会和死亡之雪一个档次
这通爆头啊，老爷爷让人心疼但是还是老爷爷🐮🍺
作为凯尔莫罕之战的缘起，本片的主线故事情节略微单薄。单独一位女术士被塑造成了最终反派，人类群体对于异端的恐惧与愤怒的爆发点，这在情绪上不够剧烈也缺乏逻辑。与巫师三游戏中当女术士群体成为人类讨伐的异端对象时，那种广泛的狂热相比，真是相形见绌。但这不算致命，本片对于维瑟弥尔背景故事的补完，以及对巫师世界后续故事发展的细节暗示，都令我这个游戏忠粉狂喜不已。科德温国王即愚昧肤浅又是不折不扣的自恋狂。尼弗加德民俗彪悍颇为严苛。联想起巫师三故事中国家间的征服与灭亡，不禁令人感叹成败的定数实际上早已在不曾被人想见的过去就已经埋下了。这又与本片的另一主题相呼应，时间。人类，王国，怪兽和自然的命运都历经着沧海桑田残酷的变化，作为一切故事的见证者，精灵，术士和猎魔人们强大的生命力又未尝不是诅咒。
经历过青草试炼的猎魔人都算是在地狱走过一遭了，这也解释了猎魔人为啥都生性放荡不羁爱自由。
这个片有点黑色幽默，有点荒诞，血浆也足。虽不能深究细节，但还是一部有意思的片子，值得一看。
“我们用魔法将不好的幻象投射到不怎么样的食物上，让食物更好吃一点，但是幻觉的余味？真苦”整个电影，让我觉得很棒的一点在于，它有着诗一样的对白！
第一次发现ju竟然有点慌这种比较血腥的电影（umm（结局蛮好玩的
血腥、暴力、紧张、毛骨悚然、叹为观止。原以为只是简单的杀妻二人组剧情，没想到语言艺术、动作设计、娱乐气质、动感音乐均有高超水准，不得不佩服导演扎实的功底。另外，导演独特的僵尸电影风格得以延续。
悲惨童年+跟人训练+训练中失去伙伴+成为不羁的猎魔人+被童年阴影困扰+爱而不得的女孩+收徒传承？？？
Panda的2021年度动画电影：1月→《许愿神龙》…，2月→《海边的异邦人》…，3月→《新神榜：哪吒重生》《寻龙传说》…，4月→《音乐》…，5月→《智能大反攻》《夏目友人帐：石起和可疑来访者》…，6月→《来自深渊：深魂的黎明》《鳄鱼男孩阿洛》《角落小伙伴：魔法绘本里的新朋友》《夏日友晴天》《诺亚方舟漂流记2》《蜡笔小新：激战！涂鸦王国和约四位勇士》，7月→《宝贝老板2》《精灵宝可梦：可可》《GIVEN 被赠与的未来 剧场版》《言语如苏打般涌现》《银魂：最终篇》…，8月→《白蛇2：青蛇劫起》《蜜熊的夏天》《新·福音战士剧场版：终》《变种动物园》…，10月→《酷爱电影的庞波小姐》《龙和雀斑公主》《小马宝莉：新世代》…，11月→《工作细胞：细胞大作战》… 12月→《天赐灵机》《雄狮少年》《逃亡》《魔法满屋》《猎魔人：狼之噩梦》。
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