稻草人电影免费看

Ⅰ 找一部关于稻草人的恐怖电影

中文名字：稻草人

电影《稻草人》海报英文名字：Scarecrows
导 演： William Wesley
国 家： 美国
时 长： 83min
年 代： 1988

五名劫匪在作案后劫机试图飞往墨西哥边境，但其中一个为私吞赃物而带钱跳伞逃走，众人无奈只能追其而去。然而他们不知道现在所处的地方竟是一个被巫术诅咒已久的稻草人墓地，人们接连被复活的稻草人杀害。不过凡是在此被杀的死者都会变成活死人追杀其他幸存的人类，劫匪们被逼入了绝境……

这个感觉和你说的有些出入啊，在线看的地址http://tieba..com/f?kz=690600345 不过没有中文字幕

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

Ⅱ 《稻草人》这部电影的主要内容!

稻草人是1988年狮门影业公司出品的一部电影 ，讲述了五名劫匪在作案后劫机试图飞往墨西哥边境，但其中一个为私吞赃物而带钱跳伞逃走，众人无奈只能追其而去。然而他们不知道所处的地方竟是一个被巫术诅咒已久的稻草人墓地，人们接连被复活的稻草人杀害。不过凡是在此被杀的死者都会变成活死人追杀其他幸存的人类，劫匪们被逼入了绝境……

Ⅲ 求台湾电影 稻草人 下载

分享链接：

提取码：ufg1复制这段内容后打开网络网盘App，操作更方便哦。

作品相关介绍：《稻草人》是由王童执导，张柏舟、卓胜利、吴炳南、柯俊雄等共同主演的剧情片。

该片讲述了在日殖末期的台湾，佃农陈发、陈阔嘴两兄弟为了养活成群的孩子、耳聋的母亲和发疯的妹妹，背着炸弹向殖民政府邀功领赏的荒诞故事。

该片于1987年10月23日在中国台湾上映。

Ⅳ 欧美恐怖片稻草人

-
-你说的应该是《猛鬼惊魂夜》吧~~
在线观看已经没有了，但是剧情网上还是搜的到的
剧情：术士的魔咒从一百多年前流传下来，随著一个家族的隐私深埋地下。一个平静的美国小镇，即将被来自地狱的复仇邪灵，血洗全镇。古曼家族在一百多年前与一位术士订约，术士施魔法史洪福镇风调雨顺，年年丰收。古曼家却因该术士行淫练沾污镇上的妇女，而背约将术士杀死。如今术士的邪灵从地狱里脱困前来报仇。只有克丽儿和古曼家的工头狄伦能解厄运，而他们必须先找到术士遗留下来的魔咒书，按书上的指示降服邪灵。要不然全镇在劫难逃，生不如死。
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以美国乡间农场为舞台，讲述一个无辜者含恨被折磨死而后复活血腥复仇的故事。
这个活死人善用乡间稻草刺入人的经脉。一旦稻草进入经脉便会游走全身，继而全身血管爆裂，乾枯的经脉从七窍、手指尖，身体各部穿刺出来，最后成了“稻草人”。

Ⅳ 《稻草人1987》百度网盘免费在线观看，卓胜利主演的

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

提取码: 7yhi
《稻草人》
导演: 王童
编剧: 王小棣、宋纮
主演: 卓胜利、张柏舟、吴炳南、文英、杨贵媚、柯俊雄、林美照
类型: 喜剧、历史、战争
制片国家/地区: 中国台湾
语言: 汉语普通话
上映日期: 1987-10-23(中国台湾)、1988-04-15(中国香港)
片长: 94分钟
又名: Scarecrow
日本统治台湾末期，田里的壮年男人都被拉去南洋当兵，佃农阿发（张柏舟 饰）、阔嘴（吴炳南 饰）两兄弟因为母亲（文英 饰）的偏方造成沙眼而幸免。但没当成兵的日子也好不到哪去。上有老母亲要养，中有一个疯了的妹妹，下有成群的儿女要顾，自己种的那几亩地收成又不好。坏上加坏的事是，地主决定把这几亩地收回来给卖掉。这可愁坏了两兄弟。
孩子们体会不到父亲的担忧，依旧在田里玩耍。某一天在地里意外发现了未爆炸的炸弹。两兄弟颇为得意的把炸弹挖出，送到当地刑警那。刑警想借机向上级邀功，拉着二兄弟，让其护送炸弹去“呈现天皇”。一路上有惊无险，总算安全送达，结果惹得上级惊慌失措，视炸弹为“烫手山芋”。本想借机得点好处的两兄弟失望的把炸弹扔到海里，结果引爆的炸弹炸起一群鱼，可谓应祸得福，有悲有喜。

Ⅵ 跪求电影稻草人的免费资源链接，感谢

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

提取码: 6xsd

《稻草人》是由美国华纳兄弟影业制作发行的112分钟剧情影片该片由杰瑞·沙茨伯格执导，吉恩·哈克曼、阿尔·帕西诺主演，于1973年4月11日在美国纽约上映该片讲述了本来打算开一家汽车清洗店的麦克斯，因为好朋友里昂的精神失常，所以决定把钱用来医治好他的病。

Ⅶ 求电影 《稻草人》(阿尔帕西诺主演)的资源或者下载地址

看来你也是阿尔的粉丝啊，我也特别喜欢阿尔，稻草人以前是看过的，但这种老片子很难下的，可遇不可求，我以前下的早已经删掉了

Ⅷ 找一部有关稻草人的恐怖电影

就叫稻草人
没有恐怖俩字

英文名： Scarecrows 1988
中文名： 稻草人

五名劫匪在作案后劫机试图飞往墨西哥边境，但其中一个为私吞赃物而带钱跳伞逃走，众人无奈只能追其而去。然而他们不知道现在所处的地方竟是一个被巫术诅咒已久的稻草人墓地，人们接连被复活的稻草人杀害。不过凡是在此被杀的死者都会变成活死人追杀其他幸存的人类，劫匪们被逼入了绝境……
这是狮门影业经典的恐怖电影，被影迷誉为史上最棒的稻草人杀手电影。此片最大魔力在于，虽然剧情有点沉闷，但它还能使你饶有兴致地观看下去。电影气氛诡异，灯光效果设置绝佳，血腥的狗血镜头加上稻草人丧尸们那恐怖的外形绝对会给观众带来超级震撼的感受。

Ⅸ 日本有一部恐怖片是不是叫‘稻草人’

片名《案山子》。

《案山子》是由鹤田法男执导，由野波麻帆，柴崎幸，叶佩雯，有园芳纪 ，三宅隆太等主演，于2001年在日本上映的恐怖、奇幻电影。

该影片讲述吉川薰（野波麻帆演）在哥哥失踪后，找上哥哥女友所住的奇怪村落。她遇上一名神秘女郎莎莉（叶佩雯演），村里的怪事连连，两人面临了危险的故事。

剧情：

吉川熏的哥哥失踪了，靠中学时代一位女同学宫守泉寄来的信作唯一线索，来到奇怪村落「不来彼方村」。

原来这条村的人相信他们死去的亲人会将灵魂寄托在案山子（稻草人）上，只要好好打理它们，亲人就能重生。

泉一直单恋熏的哥哥，却被熏从中阻碍，最后因求爱不遂自杀。她把怨气留在世上，一心借助稻草人的化身，向熏报仇和夺回所爱。

剧中描写的家族原型正是长崎县五岛列岛上的9人家族。长崎电视台从93年起就一直贴身采访这个家族，做成了一档纪录片。经营着五岛乌冬面业的夫妻和7个孩子的家庭。

剧中将孩子的人数改成的五人，以成为摄影师为目标独自前往东京的二女儿千鹤为主人公。

Ⅹ 欧美电影1973稻草人剧情介绍+分

稻草人 Scarecrow (1973)

剧情：
麦克斯和里昂是两个流浪汉，他们一见如故，成了好朋友。麦克斯攒了一些钱，他准备用这些积蓄到匹兹堡开家汽车洗刷店。他叫里昂同他一起前往，里昂答应了。里昂有好几年没见到他的妻子和孩子了，十分想念他们，而麦克斯也想见见在丹佛的姐姐，于是他们决定先到丹佛。途中，暴躁的麦克斯引起不少麻烦，而能言善辩的里昂则冷静地化解了这些矛盾。在丹佛，麦克斯见到了姐姐考莉，遂决定在丹佛开汽车洗刷店。麦克斯又一次在醉后同人发生了争吵，他和里昂双双被送进了劳教场。在劳教场，因为拒绝了一个劳改犯的无礼要求，里昂被人毒打，麦克斯的意志变得十分消沉。获释后，在得知孩子死亡的消息后，里昂因悲伤过度而精神失常，进了医院。为了朋友，麦克斯毅然放弃了开汽车洗刷店的打算，他要将全部的钱都用来医治里昂。

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