Umberto Lenzi is undoubtedly the king of Italian crime movies, but unfortunately; Syndicate Sadists is not the best examples of his work in this genre. Lenzi's crime flicks tend to be a cut above the rest because he makes films based on stories with a point, and they don't lack direction; but this film feels a bit too wayward to fully fit with the rest of his stuff. The film takes obvious influence from Sergio Leone's landmark western 'A Fistful of Dollars' (which in turn, took influence from Akira Kurosawa's landmark samurai flick Yojimbo), in that it features two warring families and a strong character at the centre. The crime that Lenzi focuses on is kidnapping, and we centre on a character called 'Rambo'. Rambo is dragged into the war between the two families after his brother is killed because of it. Rambo uses his brains and brawn to pit the two families against one another, in the hope of gaining revenge for his brother's death, rescuing a young boy that they've kidnapped, and ultimately letting the two sides destroy one another.
The film's biggest asset is undoubtedly Tomas Milian. Milian was put to great use by Lenzi in almost all of his crime thrillers. The range of characters he has played for Lenzi is immense, and this one is easily one of the coolest. The character is called Rambo, which immediately sprang to mind the popular Sylvester Stallone character - but for once, the Italians actually haven't stolen this name as Syndicate Sadists was released first! As usual, the film is wickedly entertaining, as we get to watch Milian get himself involved in the usual array of car chases, shootouts and brawls. Lenzi has got him riding a motorbike this time round, and every scene featuring it and Milian is a real standout! However, the film often feels like it doesn't really have anywhere to go, and this means that the running time is stretched out more than it should be. Compared to the crime films of other Italian directors, Syndicate Sadists is more than above average; but in relation to Lenzi crime flicks such as Almost Human and The Cynic, The Rat and The Fist - it doesn't stand tall as one of Lenzi's best. Still, if you're looking for ninety minutes of testosterone fuelled mayhem - Syndicate Sadists will suffice!
是我看的不对吗？剪的太多以至于根本不想讨论其他
整個電影太套路太流水賬了，100分鐘的電影沒有最後現實的兩句話來的讓觀眾有共感，92萬人受到影響2萬人因此失去生命
电视剧质感，强模板属性的人设和剧情，寡淡的观影体验，除了真实事件本身的份量，再无能打动人的力量
韩国拍的事实片总是这么尖利，但却能直击人心的恶
No matter how hard it gets,even if it feels impossible.Don‘t let go.Just hold on and keep going.Just keep going.
观看的资源最后一段字幕没翻译，导致不清楚最后这事是什么结局。看片名以为是个惊悚悬疑故事，没想到是韩国影片里常见的批判政府和大企业议题的电影。拍得也很套路，除了最后听证会上各个国家行政机构的甩锅有点意思外，其他也没太多新意。既然连自己身边有亲人因此去世的受害者家属都能被利益左右，你难道指望黑心资本家自己良心发现自己承认错误，承担这巨额的损失？剧情可笑就在于利益集团拼命公关洗白，却找了个同样家里有人因该使用产品导致生病离世的律师来负责处理这些事，这编剧强行给反派降智也是没谁了。这也导致本片虽然在揭示韩国社会阴暗面，却总觉得很不真实。还不如现实中网络维权来得有效。
演员演技都基本在线，无奈剧情太弱，完全支撑不起来，反转也无力……算是浪费了100分钟。
电影终归是电影。一个该以记录片严肃正视的问题沦落成电影。
又是那种不可企及的韩国出品。
这个男主的片看过不少，演技总那么差一点点，说不上来，还是喜欢看河正宇的。电影还行吧，想到李光洙的女朋友当女主总有点跳戏
挺平庸的一部电影，节奏是很传统的韩式商业电影，细节经不起推敲，适合看一次下饭（如果是十年前拍的电影可能会给高分）
是我最喜欢的音乐剧，看一次哭一次，you will be found是公认的好哭。而waving through a window的第一句，I've learned to slam on the brake，before I even turn the key，第一次听的时候就狠狠戳中了我，感觉像自己曾经的写照，人生中总有时候，胆怯自闭、孤独迷失、茫然无措，拼命向外界呼救，但好像无论喊得多么大声，在别人听来都是如同耳语，无法被人察觉，无法被人拯救。并非没有人爱你，但痛苦可能恰恰是爱带来的，痛苦的人无法与外界用爱产生连接，“you will be found”在某些时候可能仅仅是绝望的自我宽慰。但这些都会过去的，就像普希金说的，忧郁的日子总会过去，相信吧，快乐的日子将会来临，一切都是瞬息。
有点为韩国的这类剧情片感到可惜，你们有很多现成的素材，但是缺乏有想象力的好导演对这些素材进行再加工，只是原模原样地把这些素材直接端上来，这样我不如去看纪录片。
音乐剧搬上大荧幕的失败之作，节奏混乱，感情线马虎。家庭群像还行，不过看凯特琳和老戏骨对戏还是过瘾的。
都很可怜但是都不无辜be like，看后半截的时候简直怀疑中秋看前五十分钟哭成狗的自己是不是看了两部片。从无数网友感动留言和视频开始一路崩，尬到饭都吃不下去后面半快进着看完了。什么鬼。
相比较其他同类型作品 略显不足 过于平淡 记忆点不多 商业气息较重
好題材拍得一塌糊塗。不是裡頭多唱歌就叫歌舞劇的，還不如拍普通劇情片呢
取材真实事件本来就是稍微上点心就能拍好的东西 结果简陋到令人发指
电视剧质感，强模板属性的人设和剧情，寡淡的观影体验，除了真实事件本身的份量，再无能打动人的力量
所以说，人类发明了很多不是必需品的东西有意义吗？
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