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!
这俩货在一起真的太有CP感了，前面的恋爱完全没有电影电影的痕迹，太自然了～
完了，我没救了，最近天天一做家务就开一个爱情片，啥剧情我都能看下去。
流水线作业，部分内容挺现实的，就是感觉像是看电视剧番外。
我要的是安全感你懂不懂？！
屿过天芹的良心售后，但可惜我们早已下头，江宇不是北京人就离谱，全片还有比你更标准的京片子吗？
好久没看到这么简单直接却又很温暖的电影了，好想也有一个每天吵架但是又恨又爱的人啊。
莫名其妙，莫名其妙在一起，莫名其妙分开，莫名其妙和好？？？？？？如法炮制的工业糖精，就不要打着跨年的幌子出来骗钱！！！
剧情内容都是老故事，没有拍得很出彩，一般，后面小段略假，为了happy ending。
及格水平！跨年这种时刻跟喜欢的人看看也是可以的
事实上中国拍一个《花束般的恋爱》不成问题。重场戏单场安排戏量多一些，节奏再流畅一些，细节再多一些，肯定就会是《花束般的恋爱》这样优秀的影片。
现在的年轻人都是见面第一次就可以啪了吗，然后办公室会议室羞耻play？
齁死我了~哈哈~挺轻松的电影~就是一个人看完，有点…唉~
可想而知，19年至21年被疫情打散的鸳鸯不少。不得不说，导演打得一手好算盘。
毛晓彤好美
怎么说呢？就是看到狗，会觉得结尾会死，看到玻璃玩具，结尾会碎，在一起的很简单，在一起那些事情很模式，两个人都没有什么责任感和体谅心，大家喊着要分手的时候我就想快分手吧，我不想你们在一起啊，唯一好的事情就是两个演员能看见去，但是再久点就不行了，充分证明了，中国大部分爱情片还是停留在CP感上。
台词都是我和对象吵架时的，一模一样。但电影缺少了打动人心的地方，这是为什么呢？
爱情嘛，如果真的有缘分，兜兜转转都会遇到的，陆鹿珊和江宇只是暂时分开，成为了更好的自己再遇见
生活果然是个王八蛋，是爱情出现问题的最大问题。分开却能修补这种问题，也是个神奇的套路。
简直和我人生一模一样，我怀疑你们偷看我生活。
单说这个房子吧 在北漂电影里算比较真实的了
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