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四名好友为探寻秘宝闯入摩根凶宅，却揭开殖民时代英国雇主的血腥诅咒，每一步寻踪都沦为恶灵狩猎的致命赌注。
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Due to financial problems, Yilmaz family moves in their grandmother Saadet's house. But Saadet is not living alone as known. Saadet's old house, which is also a tomb of her deceased husband, is inhabited by beings from another dimension. And this beings don't want anyone in the house, but Saadet.
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改革开放初期，国家政策调整，计算机研究所进行变革。研究员张镇南萌生了开公司的想法，公司创立的过程极其艰辛。张镇南看准时机，领导研发了汉卡，随后与P&P公司合作进一步增强了公司的实力。在独立扛起国产电脑大旗之后，他们面对国内外众多集团品牌的激烈竞争，此时张镇南却又不得不和往日战友对簿公堂。然而，任何困难都挡不住张镇南想要走上更大舞台的决心，收购国际计算机业巨头P&P之后，张镇南和他的天驰公司站到了世界电子业的顶峰。
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PANIC BEATS begins with a totally nude woman with welts on her body, running through a misty forest full of decayed skeletons. A knight on horseback is chasing her, and we soon learn that he is Alaric de Marnac (a wicked character Naschy first created for HORROR RISES FROM THE TOMB), viciously killing her for her unfaithful ways. After the credits role, we are taken to the present where a descendent of Marnac named Paul (Naschy) is married to the wealthy Geneviève (Julia Saly) was has some serious heart problems. Paul decides to take her to his ancestral home in the country for some peace and quiet, but the superstitious-filled setting opens a Pandora’s Box of terrible occurrences. We soon discover that Paul is a real son-of-a-bitch who plans to scare his wife to death, planning to control her fortune and continue his secret affair with seductive bad girl Mireille (Silvia Miró), who happens to be the niece of the tarot card-reading housekeeper, Mabile (Lola Gaos). Paul’s malevolent scheme works, but he still has to worry about an additional money-hungry mistress (this guy really gets around!), the unforgiving Mabile, as well as new fianceé Mireille who might be hiding a thing or two herself. More grisly murders follow, and the ghost of Marnac returns from hell to punish the most despicable human character in the film. PANIC BEATS was also written by Naschy (under his real name Jacinto Molina) who injects the film with an old-fashioned spooky house motif, beefed up with a modern movie sense of violence and sexuality. The film offers nothing too innovative storywise, and even Naschy admits on the disc’s extras that it was partly inspired by GASLIGHT and REBECCA, but he seems to just toss in a hodgepodge of exploitation and horror ingredients, while delivering a stylish and enjoyable effort with a number of twists and some genuinely chilling moments. The camera shots and lighting are both effective, and there's even does a cool set-up (much like what Freddie Francis did in THE SKULL and THE CREEPING FLESH) where we see the point of view of Marnac through his dark helmet as he stalks his female prey. Graphically, we are exposed to everything from a plate of bloody eyeballs, to victims being beaten relentlessly with the various Medieval weapons affixed on the house’s walls (for example, someone is axed in the stomach, followed by the soaked entrails oozing out!). Naschy’s most frequent 1980s leading lady, Julia Saly, is not given much to do, but with her offbeat looks, is a nice presence nonetheless. The prominent female star here is Silvia Miró who is seen in the buff frequently, and she certainly makes for some well-appreciated Euro starlet eye candy. Naschy himself is very good in the film, putting on conniving facades, carrying a number of women on a string,
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The story homes in on Mia, a 25-year-old Parisian who works in a nail bar on Rue des Dames. Unbeknownst to her employer and in exchange for money, she arranges access, for some of the salon’s female clients, to sought-after parties attended by high-profile footballers…