剧情简介
38岁的白领建筑设计师周舟（王可如饰）被客户的无理要求压迫倍感失落，在晚高峰拥堵的路上看到以少女时代的自己为封面的摄影展，陷入了深深的回忆中。
衰小王子
38岁的白领建筑设计师周舟（王可如饰）被客户的无理要求压迫倍感失落，在晚高峰拥堵的路上看到以少女时代的自己为封面的摄影展，陷入了深深的回忆中。
回复 :政府采用了一种辐射灭虫器用来消灭农田里的害虫，但却引起了可怕的后果。杀虫器所放射出的有害物质使附近的死人复活，并将他们变成了饥饿的丧尸。然而正在农场附近的约翰和安娜两个人不幸被丧尸袭击，后在警员的帮助下才得以逃脱，可警员却葬身尸腹。于是约翰被警方怀疑涉嫌谋杀而遭到拘捕，安娜则被送往医院中。由于病毒不断的扩散，致使医院里的死人纷纷爬起袭击活人，约翰得知消息后不顾一切逃出警局，但他还能赶得及去拯救安娜吗……这是一部由意大利与西班牙影业联合监制的七十年代恐怖杰作，被广大恐怖影迷奉为经典的作品，也是七十年代最卖座的丧尸电影，影片拍摄的时尚大气，丝毫没有拘束感。片子虽然被指模仿了罗梅罗的<活死人之夜>，但在某些创意上却有着天差地壤之别。在开场几分钟的时间里，导演就把社会的灰暗面表露无疑，然后笔锋一转，便开始了紧张的剧情。片中的丧尸首次被赋予了智慧，其男女主角也有相当的悲情色彩等，有许多情节被后来的一些丧尸片竞相模仿，甚至使其成为了一部里程碑式的作品。
回复 :古惑仔阿伟（陶大宇 饰）因为杀死了黑道大哥的马仔而遭到了黑帮的追杀，同好友杰克森（李灿森 饰）一同逃亡泰国避难。在那里，阿伟结识了降头师猜旺（颜仟汶 饰）。猜旺不仅拥有高强的法术，还拥有一本早已经失传的秘籍，这令阿伟十分眼红。一天，阿伟偷看猜旺施法，习得了皮毛，正逢黑帮杀手追杀至泰国，阿伟利用降头术杀死了杀手保住一命。猜旺的妹妹阿水爱上了油嘴滑舌的阿伟，然而猜旺早就知道阿伟心术不正不是正派人士，于是强迫阿水离开阿伟，这令后者恼羞成怒，施法将猜旺杀死，又将阿水毁容，还带走了秘籍远走高飞。
王心凌
回复 :The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years.At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with.But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood.I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential.by D.R. SHIMON@lounge.moviecodec.com