稻草人電影免費看

Ⅰ 找一部關於稻草人的恐怖電影

中文名字：稻草人

電影《稻草人》海報英文名字：Scarecrows
導 演： William Wesley
國 家： 美國
時 長： 83min
年 代： 1988

五名劫匪在作案後劫機試圖飛往墨西哥邊境，但其中一個為私吞贓物而帶錢跳傘逃走，眾人無奈只能追其而去。然而他們不知道現在所處的地方竟是一個被巫術詛咒已久的稻草人墓地，人們接連被復活的稻草人殺害。不過凡是在此被殺的死者都會變成活死人追殺其他倖存的人類，劫匪們被逼入了絕境……

這個感覺和你說的有些出入啊，在線看的地址http://tieba..com/f?kz=690600345 不過沒有中文字幕

下載地址 http://www.wan126.com/read.php?tid=12189 速度一般

Ⅱ 《稻草人》這部電影的主要內容!

稻草人是1988年獅門影業公司出品的一部電影 ，講述了五名劫匪在作案後劫機試圖飛往墨西哥邊境，但其中一個為私吞贓物而帶錢跳傘逃走，眾人無奈只能追其而去。然而他們不知道所處的地方竟是一個被巫術詛咒已久的稻草人墓地，人們接連被復活的稻草人殺害。不過凡是在此被殺的死者都會變成活死人追殺其他倖存的人類，劫匪們被逼入了絕境……

Ⅲ 求台灣電影 稻草人 下載

分享鏈接：

提取碼：ufg1復制這段內容後打開網路網盤App，操作更方便哦。

作品相關介紹：《稻草人》是由王童執導，張柏舟、卓勝利、吳炳南、柯俊雄等共同主演的劇情片。

該片講述了在日殖末期的台灣，佃農陳發、陳闊嘴兩兄弟為了養活成群的孩子、耳聾的母親和發瘋的妹妹，背著炸彈向殖民政府邀功領賞的荒誕故事。

該片於1987年10月23日在中國台灣上映。

Ⅳ 歐美恐怖片稻草人

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-你說的應該是《猛鬼驚魂夜》吧~~
在線觀看已經沒有了，但是劇情網上還是搜的到的
劇情：術士的魔咒從一百多年前流傳下來，隨著一個家族的隱私深埋地下。一個平靜的美國小鎮，即將被來自地獄的復仇邪靈，血洗全鎮。古曼家族在一百多年前與一位術士訂約，術士施魔法史洪福鎮風調雨順，年年豐收。古曼家卻因該術士行淫練沾污鎮上的婦女，而背約將術士殺死。如今術士的邪靈從地獄里脫困前來報仇。只有克麗兒和古曼家的工頭狄倫能解厄運，而他們必須先找到術士遺留下來的魔咒書，按書上的指示降服邪靈。要不然全鎮在劫難逃，生不如死。
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以美國鄉間農場為舞台，講述一個無辜者含恨被折磨死而後復活血腥復仇的故事。
這個活死人善用鄉間稻草刺入人的經脈。一旦稻草進入經脈便會遊走全身，繼而全身血管爆裂，乾枯的經脈從七竅、手指尖，身體各部穿刺出來，最後成了「稻草人」。

Ⅳ 《稻草人1987》百度網盤免費在線觀看，卓勝利主演的

鏈接: https://pan..com/s/1ZWOmmOVJUh9XJDZxZ8H9WQ

提取碼: 7yhi
《稻草人》
導演: 王童
編劇: 王小棣、宋紘
主演: 卓勝利、張柏舟、吳炳南、文英、楊貴媚、柯俊雄、林美照
類型: 喜劇、歷史、戰爭
製片國家/地區: 中國台灣
語言: 漢語普通話
上映日期: 1987-10-23(中國台灣)、1988-04-15(中國香港)
片長: 94分鍾
又名: Scarecrow
日本統治台灣末期，田裡的壯年男人都被拉去南洋當兵，佃農阿發（張柏舟 飾）、闊嘴（吳炳南 飾）兩兄弟因為母親（文英 飾）的偏方造成沙眼而倖免。但沒當成兵的日子也好不到哪去。上有老母親要養，中有一個瘋了的妹妹，下有成群的兒女要顧，自己種的那幾畝地收成又不好。壞上加壞的事是，地主決定把這幾畝地收回來給賣掉。這可愁壞了兩兄弟。
孩子們體會不到父親的擔憂，依舊在田裡玩耍。某一天在地里意外發現了未爆炸的炸彈。兩兄弟頗為得意的把炸彈挖出，送到當地刑警那。刑警想借機向上級邀功，拉著二兄弟，讓其護送炸彈去「呈現天皇」。一路上有驚無險，總算安全送達，結果惹得上級驚慌失措，視炸彈為「燙手山芋」。本想借機得點好處的兩兄弟失望的把炸彈扔到海里，結果引爆的炸彈炸起一群魚，可謂應禍得福，有悲有喜。

Ⅵ 跪求電影稻草人的免費資源鏈接，感謝

鏈接: https://pan..com/s/1EYrhBC5ieWuPZ0xegVTcaA

提取碼: 6xsd

《稻草人》是由美國華納兄弟影業製作發行的112分鍾劇情影片該片由傑瑞·沙茨伯格執導，吉恩·哈克曼、阿爾·帕西諾主演，於1973年4月11日在美國紐約上映該片講述了本來打算開一家汽車清洗店的麥克斯，因為好朋友里昂的精神失常，所以決定把錢用來醫治好他的病。

Ⅶ 求電影 《稻草人》(阿爾帕西諾主演)的資源或者下載地址

看來你也是阿爾的粉絲啊，我也特別喜歡阿爾，稻草人以前是看過的，但這種老片子很難下的，可遇不可求，我以前下的早已經刪掉了

Ⅷ 找一部有關稻草人的恐怖電影

就叫稻草人
沒有恐怖倆字

英文名： Scarecrows 1988
中文名： 稻草人

五名劫匪在作案後劫機試圖飛往墨西哥邊境，但其中一個為私吞贓物而帶錢跳傘逃走，眾人無奈只能追其而去。然而他們不知道現在所處的地方竟是一個被巫術詛咒已久的稻草人墓地，人們接連被復活的稻草人殺害。不過凡是在此被殺的死者都會變成活死人追殺其他倖存的人類，劫匪們被逼入了絕境……
這是獅門影業經典的恐怖電影，被影迷譽為史上最棒的稻草人殺手電筒影。此片最大魔力在於，雖然劇情有點沉悶，但它還能使你饒有興致地觀看下去。電影氣氛詭異，燈光效果設置絕佳，血腥的狗血鏡頭加上稻草人喪屍們那恐怖的外形絕對會給觀眾帶來超級震撼的感受。

Ⅸ 日本有一部恐怖片是不是叫『稻草人』

片名《案山子》。

《案山子》是由鶴田法男執導，由野波麻帆，柴崎幸，葉佩雯，有園芳紀 ，三宅隆太等主演，於2001年在日本上映的恐怖、奇幻電影。

該影片講述吉川薰（野波麻帆演）在哥哥失蹤後，找上哥哥女友所住的奇怪村落。她遇上一名神秘女郎莎莉（葉佩雯演），村裡的怪事連連，兩人面臨了危險的故事。

劇情：

吉川熏的哥哥失蹤了，靠中學時代一位女同學宮守泉寄來的信作唯一線索，來到奇怪村落「不來彼方村」。

原來這條村的人相信他們死去的親人會將靈魂寄託在案山子（稻草人）上，只要好好打理它們，親人就能重生。

泉一直單戀熏的哥哥，卻被熏從中阻礙，最後因求愛不遂自殺。她把怨氣留在世上，一心藉助稻草人的化身，向熏報仇和奪回所愛。

劇中描寫的家族原型正是長崎縣五島列島上的9人家族。長崎電視台從93年起就一直貼身采訪這個家族，做成了一檔紀錄片。經營著五島烏冬面業的夫妻和7個孩子的家庭。

劇中將孩子的人數改成的五人，以成為攝影師為目標獨自前往東京的二女兒千鶴為主人公。

Ⅹ 歐美電影1973稻草人劇情介紹+分

稻草人 Scarecrow (1973)

劇情：
麥克斯和里昂是兩個流浪漢，他們一見如故，成了好朋友。麥克斯攢了一些錢，他准備用這些積蓄到匹茲堡開家汽車洗刷店。他叫里昂同他一起前往，里昂答應了。里昂有好幾年沒見到他的妻子和孩子了，十分想念他們，而麥克斯也想見見在丹佛的姐姐，於是他們決定先到丹佛。途中，暴躁的麥克斯引起不少麻煩，而能言善辯的里昂則冷靜地化解了這些矛盾。在丹佛，麥克斯見到了姐姐考莉，遂決定在丹佛開汽車洗刷店。麥克斯又一次在醉後同人發生了爭吵，他和里昂雙雙被送進了勞教場。在勞教場，因為拒絕了一個勞改犯的無禮要求，里昂被人毒打，麥克斯的意志變得十分消沉。獲釋後，在得知孩子死亡的消息後，里昂因悲傷過度而精神失常，進了醫院。為了朋友，麥克斯毅然放棄了開汽車洗刷店的打算，他要將全部的錢都用來醫治里昂。

Review：
Max and Lionel, two ordinary guys, meet by chance on a lonely country road while hitchhiking and strike up a friendship. Max (Gene Hackman) is a hot-tempered ex-con who dreams of owning his own business, a car wash. Lionel (Al Pacino) is a seaman who abandoned his pregnant girlfriend some years prior but who, despite this character flaw, is so mild-mannered and sweet you really just want to give him a big hug.

Hackman is great as the hard-edged Max, yet despite his gruff exterior you know there is a man of deep feeling and caring underneath. Pacino never fails to disappoint in whatever he does and he doesn't in this tour-de-force performance. Famous for playing loud, larger than life character's with extreme zeal -- Colonel Frank Slade from SCENT OF A WOMAN and Tony Montana from SCARFACE for instance -- here his performance is like a whisper -- quietly calm yet powerfully effective.

A nice surprise in the cast is Richard Lynch (in his screen debut) as Riley, the man who befriends Lionel while he and Max are briefly incarcerated for a bar fight. Lynch is only in the movie for approximately 20 minutes, but what a 20 minutes! His ability to convey the sleazy yet somehow likable Riley let's the audience know that this is a talent to watch for in the coming years. With such great method acting from all three actors, it's no wonder this movie won the prestigious Golden Palm Award at the 1973 Cannes Film Festival!

Scarecrow is a low-key film that succeeds on all its ambitions, but not because it tries to aim low. That the tone at times doesn't feel as emotionally incredible or intense as some other films Gene Hackman and Al Pacino got their star-making turns in the 70s (French Connection, Dog Day Afternoon, Serpico) doesn't mean it's unsuccessful either. Jerry Schatzberg and his writer are out to capture a kind of outsider view of men trying to find their places in society, almost like how Michael Cimino would do (to a more genre-oriented extent) with Thunderbolt and Lightfoot. It's not a movie a lot of people would go out of their way to see, even with the star power involved. It's about two guys who've been released from confinement from the world around them, Max from six years in jail (Hackman), Francis from five years out at sea in the Navy (Pacino), and how the two meet up unintentionally while hitchhiking, unlikely pair up, and Hackman gets Pacino to go in with him on opening up a car wash in Pittsburgh.

Why Pittsburgh? Just one of the peculiarities of Max, mayhap? More-so a thing of pride. There's characteristics to Max and Francis that make them compelling for the honesty in what they are: Max is a tough guy, tending to get drunk, get in fights, sex it up with women (who knew Hackman had such, um, animal magnetism), and Francis (also named Lion by Max) is a clown, a little boy who somehow made the mistake of having a kid with a woman before he left the Navy, and has a present ready to give to the kid in Detroit- an androgynous lamp- despite not knowing entirely what to expect. It's an odd couple movie, but also one that has a more affecting view into a world of men on the fringe of society. These guys don't have big plans, and wouldn't want any anyway. It's refreshing to see that, and how it pans into the nature of them and their environment: the small towns, the local dives, the bad drunks, and, when things go bad after a big brawl ring a drunken hoopla, the subtle horrors of prison for the both of them. Did I mention train-hopping?

A film like this, despite having on its side gorgeous cinematography by Vilmos Zsigmond (who, along with Badlands and, in its own way Mean Streets, captures a vision of Americana that is pure and unique to its time and place), needs strong acting. Who better than Hackman and Pacino? They're playing big personalities, with Hackman doing great as always in a somewhat typical part of a guy who's aggressive and pig-headed but does have a hear. And Pacino doing a rare comedic turn as he gives some of his funniest (genuine, not unintentional scene-stealing) moments, like his 'diversion' gone wrong in the clothing store, or his classic "teach me how to handle a drunk" bit at the bar. Sometimes its too much, but it leads to a bittersweet side to the story that turns even more bitter by the time Schatzberg reaches the emotional climax in Detroit. What's been alternately crude and crazy, sometimes in ways that remind one a little of Altman, turns towards what is a small but great tragedy for these characters. And doing the script one better, the actors are able to get subtle, crushing, telling moments in scenes that others wouldn't be able to grasp with a ten-foot pole.

It's also a fun movie, with a feel that you could only get in one of the truly great years in all movies (look at the year this came out, and realize how many films of its ilk were released, be they independent-like from Scorsese or Altman or Ashby or even Romero, or even Friedkin's Exorcist). Scarecrow is of its time, but it doesn't mean it can't be greatly liked in the present; it's even a near classic of genre subversion, doing a service to drama and comedy by not paying lip-service to either form, but enriching what comes naturally out of life, which is both sometimes, harrowingly, at once