周启生
发表于6分钟前回复 :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
梁晴晴
发表于4分钟前回复 :近未来，可怕的丧尸病毒蔓延全球，数以万计的平民遭受感染，许多人失去了生命，许多人化身为嗜血如命的活死人，也有许多人从此得到尴尬的身份。农夫韦德（阿诺·施瓦辛格 Arnold Schwarzenegger 饰）忧心忡忡地开车驶向位于隔离区的医院，他的女儿麦琪（阿比盖尔·布蕾斯琳 Abigail Breslin 饰）不久前被送到这里。麦琪遭到了丧尸的攻击，从而感染病毒。虽然离完全变成丧尸还有一段时间，但是她的悲剧命运似乎就此注定。韦德取得院方的同意，带女儿回到了家中。熟悉的环境和气息，对麦琪来说却平添了几多忧伤与烦恼。她与家人的维系不断，然而那距离正一点点地来开。时间流逝，麦琪身上生的气息不断消逝，死亡的味道与日俱增，她和彼此深爱的亲人终将迎来痛苦的诀别时刻……
两个女生
发表于9分钟前回复 :Significant Other follows a young couple (Maika Monroe & Jake Lacy) who take a remote backpacking trip through the Pacific Northwest, but things take a dark turn when they realize they may not be alone.
