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A raised-in-Japan L.A. supercop and his new partner kick into high gear when the Japanese mob makes a play for power.
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◎译 名 浴血蛟龙/杀戮都市 2 R& Q5 c4 f3 p+ J$ r; H, ~
◎片 名 Showdown in Little Tokyo 1 b4 f5 ^( e' P9 b% I3 L; n$ s
◎年 代 1991
( f7 w4 t3 X w/ n◎产 地 美国
% [ s, B* C9 N8 F1 d◎类 别 喜剧/动作/犯罪/惊悚5 ~* r( P6 K8 @- m+ S, } E
◎语 言 英语/日语
. x/ `1 V0 e3 C◎上映日期 1991-08-23(菲律宾)
. J! Q: k8 D& B. U% d6 x" d◎IMDb评分 6.1/10 from 20,248 users
% P8 s* j+ u- M) ^2 S◎IMDb链接 https://www.imdb.com/title/tt0102915// ?+ N+ R( B6 s
◎豆瓣评分 6.0/10 from 223 users; L0 Q6 m$ I* H
◎豆瓣链接 https://movie.douban.com/subject/1295630/2 |' P% p% J% @7 y& n- Z0 _: G
◎文件格式 x264 + DTS# L$ U4 j6 D9 v. i7 o6 T4 Z
◎视频尺寸 1920 x 1080
$ `9 ? X7 `' o% P◎文件大小 1DVD 22.13 GiB6 }1 h/ E3 n8 x$ ]6 B2 Y* \
◎片 长 1:18:20.737 (h:m:s.ms)0 d& i( g" q& Y: I# j% r( t
◎导 演 马克·L·莱斯特 Mark L. Lester
2 x7 h& K) @3 ~) n◎编 剧 Caliope Brattlestreet2 J$ L' a' i6 f$ T, T; l8 h$ m
斯蒂芬·格兰兹 Stephen Glantz
, @- h/ f4 ]/ h◎主 演 蒂亚·卡雷尔 Tia Carrere4 s4 J% y4 W O- \
杜夫·龙格尔 Dolph Lundgren
8 a3 D3 z C) a; p; j, x 李国豪 Brandon Lee
* ], t( \ C: t( l 菲利普·丹 Philip Tan
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◎标 签 动作 | 美国 | 李国豪 | 浴血蛟龙 | 犯罪 | 1991 | 电影 | Dolph_Lundgren
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: L0 L/ A* W7 Q. N0 z' g◎简 介
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o( Q: ]) K. Y: S2 o 在洛杉矶市日本人聚集的地区小东京,以吉田先生为首的铁爪帮横行霸道,欺凌善良百姓,并且野心勃勃的想独占全美毒品市场。肯纳与强尼是洛城警探负责缉毒扫黑的工作,面对高手如云的铁爪帮,他们是如何的出生入死为地方除害! I( m' `( @: S0 h: y0 S8 k1 \
' T' b: Q' u: ^ Two L.A. cops with opposing views on what is the best way to uphold the law have to work together to bring down the Yakuza, while trying to protect a beautiful woman.
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- DISC INFO:
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- Disc Title: Showdown.in.Little.Tokyo.1991.1080p.BluRayCD.AVC.DTS-HD.MA.2.0-FGT- t0 d8 G$ \/ q( c E7 h' X
- Disc Size: 23,767,285,410 bytes4 W m3 t+ I: B3 m: a
- Protection: AACS* p" h8 n" {: O: A
- BD-Java: No
- x: b/ ?! H) ?; K7 [6 y, q - BDInfo: 0.5.8
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$ H2 m4 |1 s* R3 b O+ C0 O1 U2 `8 K) O- PLAYLIST REPORT:" I# u) Y; v& m; U q6 i: W0 K
8 ] @ c5 g; D$ {0 F" m3 K- Name: 00003.MPLS
" j/ M4 n: e# P2 J" ] - Length: 1:18:20.737 (h:m:s.ms)
2 @- o& F1 H; q% `* p - Size: 22,979,641,344 bytes
9 `3 ]: R$ V' |2 u3 l - Total Bitrate: 39.11 Mbps
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- Video:
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- Codec Bitrate Description
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- MPEG-4 AVC Video 35000 kbps 1080p / 23.976 fps / 16:9 / High Profile 4.1
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- AUDIO:: `. D, Y4 w! X( K
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- Codec Language Bitrate Description * @7 G: x. Q3 `& L0 k/ R0 ]/ N
- ----- -------- ------- ----------- & T7 A% A' x, a9 _! A& B A
- DTS-HD Master Audio English 2127 kbps 2.0 / 48 kHz / 2127 kbps / 24-bit (DTS Core: 2.0 / 48 kHz / 1509 kbps / 24-bit)% A, K7 K/ I; m+ d9 Z6 ~, y# I
$ Q% V) Z. z9 i; X2 ~- SUBTITLES:- F7 T6 |7 d, h# a
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- Codec Language Bitrate Description
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- Presentation Graphics English 27.422 kbps 0 l' B2 e8 u% A2 c4 k) f
- Presentation Graphics English 0.677 kbps
复制代码 Showdown in Little Tokyo Blu-ray, Video Quality 4 O; X' J; c& F. V2 x- h" k: B0 _
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Showdown in Little Tokyo was photographed by Canadian cinematographer Mark Irwin, who shot most of David Cronenberg's early films through The Fly and has had long-running partnerships with Wes Craven (Scream) and the Farrelly Brothers (There's Something About Mary). Irwin's hallmark is invisibility. His lighting and camera work don't draw attention to themselves. He's won four awards from the Canadian Society of Cinematographers, but he'll never win an Oscar, because no one ever thinks to themselves during one of his films, "Wow, that's beautiful photography!" They're too busy following the story.4 ?0 p& i- k. _* M
8 G- b6 x) G9 h# ]' l# Z% ~The Warner Archive Collection has newly transferred Showdown at 2k from an interpositive, and the results are impressive. WAC's 1080p, AVC-encoded Blu-ray sports a beautifully film-like image with an organically natural grain pattern, solid blacks (essential for the many nighttime sequences) and vivid colors that brings out the full palette of Little Tokyo and its many residents and visitors. The elaborate body tattoos sported by the various yakuza (which are a plot point), as well as the lurid scene in the club formerly owned by Tanaka, are both vivid and life-like, without the pumped-up digital saturation that one often sees in today's productions. These are colors that could actually exist. Detail is plentiful, whether in closeups of faces or in long shots of elaborate environments like the Red Dragon brewery.
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As has become its standard practice, WAC has mastered Showdown at an average bitrate of 35 Mbps. Even at that high rate, the film fits on a BD-25, because it is so short and has no major extras.
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' D# G. b7 z) |9 p0 H" bIt should be noted that Showdown was shot on film, an analog medium, and WAC has preserved the look of that medium. Recent comments in the Blu-ray.com forum have reminded me that such a look still raises concern among viewers who have grown accustomed to digital photography, digital post-production and digital projection. The belief continues that any Blu-ray image with a "soft" or "grainy" texture must somehow be a botched job. On the contrary, an image like that on WAC's Blu-ray of Showdown is a model of how this type of production should be preserved in a high-def medium. It is certainly possible to apply digital software to eliminate visible grain, sharpen the image and enhance the appearance of detail (though only the appearance), but it is precisely those practices that have been repeatedly condemned by videophiles, and with good reason. Occasional instances may require the use of such tools (e.g., to clean up an image from a badly deteriorated source), but Showdown in Little Tokyo is not one of them.& _& b* v8 J: P0 e% N2 R
, K7 K& O2 N1 ]- @5 j9 l( tShowdown in Little Tokyo Blu-ray, Audio Quality 8 I/ s$ N, X x' @
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Showdown in Little Tokyo was released in Dolby Surround, which has been encoded on Blu-ray in lossless DTS-HD MA 2.0. It's a serviceable mix that provides a good surround experience when played back through a decoder, lending an effective ambiance to scenes like the opening fight competition, the bathhouse brawl and the battle at Yoshida's auto yard. The dynamic range is broad enough to lend appropriate impact to the gunshots, car crashes, flames and body blows. The dialogue is clear, and the score by former Broadway conductor David M. Frank (Above the Law, Hard to Kill) effectively imitates Hans Zimmer's style of importing Japanese musical elements into Western film music demonstrated in Black Rain two years earlier.4 N% J: F* L# P
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