□□哥立(🏋)□□声□冤,并且还一脸悲愤□道□□小五,□故□□我!”□叠好□,重又装□信封,阿强却(□)□了:“老二他们(🚍)过得很□,□且因□表现好,都□刑了。”□□□□ thi□ very late 60□9;s irrev□□ent, almost anarchic low-bu□get film, Brian De□Palm□ defi□es□more □□ his □trange, given Hitchc□ck-lik□□fascination of□voye□rism, and attacks the □ssues□of the day. The□most promi□ent □f w□i□h,□both□crin□e-i□d□c□ng□and□just □l□in □unny, □s wh□n□he focu□□s on th□ black□po□er m□vement (a blac□ wo□an ha□di□□□ou□ fliers□□s□ing white people□□;do you know□what it'□ like to □e b□ack'□□ □hich is somet□in□ □hat could □nly work for that time and pla□e, □□t b□fore□or now. But □n□ of the key things to the interest in the film i□ 27 year ol□ Robert □e Niro (not his first or la□t film with th□ dire□tor), □□o plays this c□aracte□ who si□s in□a room looking o□t through his t□les□ope at w□m□□ in □h□i□□r□oms, setting up ph□ny de□□s, and i□ t□e□end□ba□□cally t□□owi□g□bomb□. Those who have said tha□ De□Niro c□n't act and□just is himsel□ in every□movi□□should□see this mo□ie,□if only□o□t o□ s□me□minor curiosity. A couple□□f times in the□film it's actually not funny, □s w□en there□#□9;s a di□turbance □n□a □□ack□power□m□e□ing (film□d in a gra□ner□□rougher style t□an the□res□ of □□e □ilm). (□) □n□th□ end it's c□pp□d off wi□h a ram□l□ng□monologue□i□□a□ intervi□w□that□tops De N□ro's□in King □f □omedy□□I□'s prett□ ob□ious w□ere□De□Palma's□care□r would go after th□s,□□nto slight□y more ma□n□t□e□m □ollywoo□ territory□ bu□ al□ □f□h□s tra□emarks are here; □h□ dark, □lmos□ nail-b□ting □o□edy, the □□□fectly □imed styl□ of□vo□euris□, an□ inte□est□n□ u□age of locals. T□□nk □f De Pa□ma a□d De Ni□o□did a Mont□ Pyt□on film, □nly□even more low-bu□get an□□in its New Y□rk way □ust□a□ off-the-hi□ges□ and□you got Hi□ Mom! It a□so contains an e□centric and funny so□ndtrack. (⚓) imd□ comm□nt