剧情简介
Mike是一名卧底探员，母亲在夜店邂逅了小丽，母亲两人迅速打得火热，丽更要求Mike与妻子离婚。在一次警方围剿中，丽中了枪，在临终前对Mike的身份感到怀疑，结果含恨而逝……Mike虽完成了任务，但对丽的死始终深感内疚。青年干探超在回家途中，遇着丽的阴魂，丽于是附在超身上去追查Mike的身份，从此令Mike一家生活在极度恶惧中……
我朋友的母亲在线播放
Mike是一名卧底探员，母亲在夜店邂逅了小丽，母亲两人迅速打得火热，丽更要求Mike与妻子离婚。在一次警方围剿中，丽中了枪，在临终前对Mike的身份感到怀疑，结果含恨而逝……Mike虽完成了任务，但对丽的死始终深感内疚。青年干探超在回家途中，遇着丽的阴魂，丽于是附在超身上去追查Mike的身份，从此令Mike一家生活在极度恶惧中……
回复 :格雷格与露西夫妇二人的感情出现了危机。为了拯救婚姻，二人决定和邻家友人一同前往一个休闲寓所，希望可以修补情感的裂痕。起初，会所里的各种奇葩经历让露西深感疑虑。二人决定离开，然而更可怕的事情在等着他们……
回复 :一面以光鲜的富豪公子哥面目示人，一面又披上蝙蝠侠的斗篷主持正义，布鲁斯·韦恩（杰森·奥玛拉 Jason O'Mara 配音）在光明和黑暗的道路上孤独奔走。为了防止“刺客联盟”的后代达米安（斯图尔特·艾伦 Stuart Allan 配音）走上歪路，他对达米安进行着艰苦而严格的训练。直到追查变态狂魔Dollmaker的过程中，这个恶棍被猫头鹰Talon（杰瑞米·西斯托 Jeremy Sisto 配音）杀害，蝙蝠侠却一度认为罗宾下此毒手，这令达米安心中的不满和愤懑与日俱增。随着时间的流逝，布鲁斯和达米安之间的分歧与误会似乎越来越深，随着Talon再度出现，少年心中的迷茫更加深了一层。这对孽缘一般的父子，注定要经历最为难耐的一段磨合时期……
许志豪
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
