简介： 　　当一群精神病医院的护士召唤出血腥玛丽（一个假想的虚构人物）的灵魂时，屠杀开始。起初一个年轻护士助理失踪，也找不到她的尸体。而现在，病人们都被打死，面目全非，浸泡在血中，他们的眼睛也被挖去。在被从镜子镜像后的永恒监牢释放出来后，玛丽的怨念开始蔓延.....血腥玛莉的传说是真的，她的复仇也是致命的，想召唤她？你需要去做的就是说出她的名字。 　　/*血腥玛丽 　　到酒吧，你有喝过一种名为血腥玛莉的鸡尾酒吗？原来这是一个鬼魂的名字，也是一种西方的通灵玩意，很受外国少女欢迎，但带来的后果，却令人毛骨悚然。 　　召唤血腥玛丽 　　如果你希望求助于Bloody Mary的邪灵，你可以跟着以下的步骤： 　　1.独自一人进入浴室，记着，不要带其他人进去。 　　2.锁上浴室门并关掉电灯。 　　3.面向镜子，并在镜子与你之间点燃蜡烛，或在镜子的两边各点一枝蜡烛。 　　4.闭上眼睛，集中精神，慢慢喃念“Bloody Mary”三次。*/

简介： 　　当一群精神病医院的护士召唤出血腥玛丽（一个假想的虚构人物）的灵魂时，屠杀开始。起初一个年轻护士助理失踪，也找不到她的尸体。而现在，病人们都被打死，面目全非，浸泡在血中，他们的眼睛也被挖去。在被从镜子镜像后的永恒监牢释放出来后，玛丽的怨念开始蔓延.....血腥玛莉的传说是真的，她的复仇也是致命的，想召唤她？你需要去做的就是说出她的名字。 　　/*血腥玛丽 　　到酒吧，你有喝过一种名为血腥玛莉的鸡尾酒吗？原来这是一个鬼魂的名字，也是一种西方的通灵玩意，很受外国少女欢迎，但带来的后果，却令人毛骨悚然。 　　召唤血腥玛丽 　　如果你希望求助于Bloody Mary的邪灵，你可以跟着以下的步骤： 　　1.独自一人进入浴室，记着，不要带其他人进去。 　　2.锁上浴室门并关掉电灯。 　　3.面向镜子，并在镜子与你之间点燃蜡烛，或在镜子的两边各点一枝蜡烛。 　　4.闭上眼睛，集中精神，慢慢喃念“Bloody Mary”三次。*/

8年前，瑞恩（保罗·普雷斯 Paul Preiss 饰）的姐姐艾米（瑞秋·泰勒 Rachel Taylor 饰）偶然从网上获知“血腥玛丽”的传说，随后和友人召唤“血腥玛丽”，并在此之后神秘失踪。此后经年，瑞恩不断为恶梦和幻想所困扰，姐姐的失踪让他感到莫大的罪恶感，这令瑞恩痛苦不堪，并接近崩溃边缘。即便如此，瑞恩仍拒绝他人的帮助，这也使得他和女友瑞秋（艾琳娜·科斯塔 Irina Costa 饰）的关系分外紧张。为了帮男友摆脱痛苦，瑞秋求助于瑞恩的朋友奥尼尔教授（罗伯特·J·罗克 Robert J. Locke 饰）。奥尼尔如今身兼神父和考古学家之职，她答应了瑞秋的请求，决心彻底揭开血腥玛丽背后的秘密……

8年前，瑞恩（保罗·普雷斯 Paul Preiss 饰）的姐姐艾米（瑞秋·泰勒 Rachel Taylor 饰）偶然从网上获知“血腥玛丽”的传说，随后和友人召唤“血腥玛丽”，并在此之后神秘失踪。此后经年，瑞恩不断为恶梦和幻想所困扰，姐姐的失踪让他感到莫大的罪恶感，这令瑞恩痛苦不堪，并接近崩溃边缘。即便如此，瑞恩仍拒绝他人的帮助，这也使得他和女友瑞秋（艾琳娜·科斯塔 Irina Costa 饰）的关系分外紧张。为了帮男友摆脱痛苦，瑞秋求助于瑞恩的朋友奥尼尔教授（罗伯特·J·罗克 Robert J. Locke 饰）。奥尼尔如今身兼神父和考古学家之职，她答应了瑞秋的请求，决心彻底揭开血腥玛丽背后的秘密……

四位专门处理灵异事件的油管网红为了提高自己节目的关注度，接下委托开始调查【学校厕所的金发女鬼】这一巴西都市传说……

四位专门处理灵异事件的油管网红为了提高自己节目的关注度，接下委托开始调查【学校厕所的金发女鬼】这一巴西都市传说……

Of all the dangers Elizabeth I had to survive - the Spanish Armada, a Catholic continent plotting against her incessantly, restless nobles uneasy at serving a queen who refused to marry - none was so personally intense as her rivalry with another woman - her cousin and fellow queen, Mary, Queen of Scots. This was her longest, most gruelling battle - lasting over two decades, it threatened to tear apart both Elizabeth and her kingdom. In the end, it would force her to make the hardest decision of her life. 　　The two queens stared across the ultimate divides of their time: Protestant and Catholic, Tudor and Stuart, English and Scottish. Their fascination with one another grew into the greatest queenly face-off in our entire history. And yet, in 26 years of mutual obsession, they never actually met. Their confrontation was carried out through letters - a war of words so heartfelt and revealing that the two queens' passions can still be felt. 　　For the first time on television, this chronicle of love turned to hatred, of trust betrayed by plot and bloodshed, is dramatised purely from the original words of the two queens and their courtiers. Expert historians examine, interpret and argue over the monarchs' motives for their 'duel to the death' - for in the end only one queen could survive such emotional combat.

Of all the dangers Elizabeth I had to survive - the Spanish Armada, a Catholic continent plotting against her incessantly, restless nobles uneasy at serving a queen who refused to marry - none was so personally intense as her rivalry with another woman - her cousin and fellow queen, Mary, Queen of Scots. This was her longest, most gruelling battle - lasting over two decades, it threatened to tear apart both Elizabeth and her kingdom. In the end, it would force her to make the hardest decision of her life. 　　The two queens stared across the ultimate divides of their time: Protestant and Catholic, Tudor and Stuart, English and Scottish. Their fascination with one another grew into the greatest queenly face-off in our entire history. And yet, in 26 years of mutual obsession, they never actually met. Their confrontation was carried out through letters - a war of words so heartfelt and revealing that the two queens' passions can still be felt. 　　For the first time on television, this chronicle of love turned to hatred, of trust betrayed by plot and bloodshed, is dramatised purely from the original words of the two queens and their courtiers. Expert historians examine, interpret and argue over the monarchs' motives for their 'duel to the death' - for in the end only one queen could survive such emotional combat.

墨西哥超现实吸血鬼片，导演Juan López Moctezuma是JODOROWSKY大师的好友，曾经参与杨大师多部经典CULT片的拍摄工作。 　　A beautifull artist (Cristina Ferrare) moonlights as a vampire while in Mexico, killing lovers of both sex. It seems that the only person who has any chance of stopping her reign of terror is her father (John Carradine), who's also a vampire. Model and future TV host Christina Ferrare is a lesbian vampire whose victims are dying to quench her thirst for blood. Mexican authorities and her father (John Carradine) try to come between Ferrare and her next target's neck in this horrifying shockfest. 　　Juan Lopez Moctezuma's MARY, MARY, BLOODY MARY (1975) is one of those movies you watch and, after mentally cataloging all the things wrong with it, realize how cool it really is... mostly because of all the things you thought were wrong with it. Cristina Ferrare is such a Pamprin headache of an actress, as stiff as a celluloid collar, and yet she does create one of cinema's most interesting vampires. In many ways, Mary couldn't be worse at what she does - while the early murder of a man interested in more than her paintings goes off smoothly (Miss Thing slyly sliding a hairpin out of her chignon during female superior sex and using it to lay open his jugular), her next victim (a fisherman, whom she has attempted to drug) nearly fends her off until she takes him down in one of the most ungainly vampire attacks of all time. 　　Elsewhere, Mary proves herself a complete chicken shit in moments of tension, as when she breaks down in big boo-boo tears when confronted on a country road by a mysterious figure clad in black. She's lachrymose, emotionally withdrawn, sexually disengaged and her art sucks... what a perfect portrait of an Ugly Americana spreading the white man's poison south of the border. It's in this context that the cheapness of the production, the harsh 70s decor, the cold, perfunctory performances and the wall-to-wall Muzak score actually begin to seem like grounded artistic choices and have a lot to do with why I keep coming back to this one. 　　MARY, MARY, BLOODY MARY ends in a surprisingly cynical bloodbath of ultraviolence that leaves only the pathetic title character standing... or in reality on her knees sucking the life out of the one person whose love she had relied on to point her to some kind of normalcy. Not enough vampire movies use awkwardness and incompetence as character traits to define their bloodsuckers and that's too bad. George Romero had similar ideas for MARTIN (1976) a year later but portraying vampires as just folks is definitely the horror road not taken.

墨西哥超现实吸血鬼片，导演Juan López Moctezuma是JODOROWSKY大师的好友，曾经参与杨大师多部经典CULT片的拍摄工作。 　　A beautifull artist (Cristina Ferrare) moonlights as a vampire while in Mexico, killing lovers of both sex. It seems that the only person who has any chance of stopping her reign of terror is her father (John Carradine), who's also a vampire. Model and future TV host Christina Ferrare is a lesbian vampire whose victims are dying to quench her thirst for blood. Mexican authorities and her father (John Carradine) try to come between Ferrare and her next target's neck in this horrifying shockfest. 　　Juan Lopez Moctezuma's MARY, MARY, BLOODY MARY (1975) is one of those movies you watch and, after mentally cataloging all the things wrong with it, realize how cool it really is... mostly because of all the things you thought were wrong with it. Cristina Ferrare is such a Pamprin headache of an actress, as stiff as a celluloid collar, and yet she does create one of cinema's most interesting vampires. In many ways, Mary couldn't be worse at what she does - while the early murder of a man interested in more than her paintings goes off smoothly (Miss Thing slyly sliding a hairpin out of her chignon during female superior sex and using it to lay open his jugular), her next victim (a fisherman, whom she has attempted to drug) nearly fends her off until she takes him down in one of the most ungainly vampire attacks of all time. 　　Elsewhere, Mary proves herself a complete chicken shit in moments of tension, as when she breaks down in big boo-boo tears when confronted on a country road by a mysterious figure clad in black. She's lachrymose, emotionally withdrawn, sexually disengaged and her art sucks... what a perfect portrait of an Ugly Americana spreading the white man's poison south of the border. It's in this context that the cheapness of the production, the harsh 70s decor, the cold, perfunctory performances and the wall-to-wall Muzak score actually begin to seem like grounded artistic choices and have a lot to do with why I keep coming back to this one. 　　MARY, MARY, BLOODY MARY ends in a surprisingly cynical bloodbath of ultraviolence that leaves only the pathetic title character standing... or in reality on her knees sucking the life out of the one person whose love she had relied on to point her to some kind of normalcy. Not enough vampire movies use awkwardness and incompetence as character traits to define their bloodsuckers and that's too bad. George Romero had similar ideas for MARTIN (1976) a year later but portraying vampires as just folks is definitely the horror road not taken.