劳拉自幼在孤儿院中长大，性爱一大群小朋友天天玩着“一二三，性爱回头看”的游戏，十分友爱。30年后，结婚成家的劳拉带着丈夫和儿子再次来到这座海岸边上的荒废已久的孤儿院，为了重温童年时温暖的回忆以及帮助更多的孤儿，他们决定重建这里。然而7岁的儿子西蒙自从搬来这屋子就开始变得不对劲，他幻想出三个不存在的小朋友嬉戏。劳拉和丈夫担心这个收养又同时患有艾滋病的儿子，劳拉的过度担心让儿子反感。他们一直不相信那些幻觉的真实性，直到一天西蒙失踪了。长达9个月的调查，劳拉开始相信鬼魂的存在，并且发现事情与自己童年时的一位护理员有关，她沉下心来，陪伴这些“孩子们”玩游戏，希望能救出西蒙。
李媛希
回复 :有一天晚上，哈罗德一个人驾驶车辆外出，不知过了多久发生了一起车祸，当他醒来时发现自己正躺在医院里。从此他的生活发生天翻地覆的变化，每天生活 在惊慌、胆怯、不安之中，时哭时笑，难道他变成精神病患者了吗？......
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
回复 :阿尼•科宁汉姆（Keith Gordon 饰）是某所高中内极不起眼的学生，他沉默寡言、木讷内向。父母对他没有过多关注，身边只有女友丽（Alexandra Paul 饰）和好哥们丹尼斯（John Stockwell 饰），再无其他朋友。某天，阿尼看上一辆1958年产的二 手普利茅斯•复仇女神（Plymouth Fury），他立刻爱上了这辆车，毫不犹豫将其买了下来。但是阿尼的举止渐渐变得奇怪起来，他不再关心周遭世界，而是将所有注意力都放在这辆名为“克莉丝汀”的车上。当了解到克莉丝汀的背景之后，丽和丹尼斯决定摧毁汽车，拯救阿尼。然而克莉丝汀似乎对挡在她面前的人毫不留情……
