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I am awestruck by this movie. Fast zombies that can use weapons, even guns, and are capable of intelligent thought. They plot a strategic offensive to take over the city, hitting the airport, then the TV stations and the power plant. If you love horror, gory, and violent movies and don't mind a little bad acting, then you will LOVE this movie. It is exciting and even a bit susp...。锦衣卫总管夏侯追捕转世灵童，灵童意外为叶飞（皇甫无名）所救，皇甫本为锦衣卫，几年前诈死以隐匿。夏侯之义子段十一与皇甫亦敌亦友，欲成为第一杀手，并爱上若碧，因此与皇甫形成竞争关系。为保护灵童，皇甫挚友醉和尚被杀，若碧被擒，夏侯以她诱捕皇甫，并试探段十一。段十一不忍杀若碧，被夏侯杀死。皇甫与若碧誓为十一报仇，并护送灵童平安返回寺庙。。The subtitle of Jean-Marie Straub and Danièle Huillet’s first feature, from 1965, “Only Violence Helps Where Violence Reigns,” suggests the fierce political program evoked by their rigorous aesthetic. The pretext of the film, set in Cologne, is Heinrich Böll’s novel “Billiards at Half Past Nine,” which they strip down to a handful of stark events and film with a confrontational angularity akin to Bartók’s music that adorns the soundtrack. The subtlest of cues accompany the story’s complex flashbacks. The middle-aged Robert Fähmel tells a young hotel bellhop of persecutions under the Third Reich| his elderly father, Heinrich, an architect famed for a local abbey, recalls the militarism of the First World War, when his wife, Johanna, incurred trouble for insulting the Kaiser. A third-generation Fähmel is considering architecture, just as the exiled brother of Robert’s late wife, returns, only to be met by their former torturer, now a West German official taking part in a celebratory parade of war veterans. Straub and Huillet make the layers of history live in the present tense, which they judge severely. The tamped-down acting and the spare, tense visual rhetoric suggest a state of moral crisis as well as the response—as much in style as in substance—that it demands.。