Jonathan MacKinlay(Michael Jefferson 饰)经历了一场恐怖的车祸,无码这场车祸杀死了他的妻子,无码自此事之后,Jonathan MacKinlay一直患有恐怖症。妻子死后,他将自己困在家中,每天如此,只有他最好的朋友Taylor(Andrew Ruth 饰)、他的心理医生能帮他打破这种单调乏味的生活。后来,他开始相信有邪恶力量存在于他的家中,但是,这是真的吗?还是他自己的想象呢?他将要找到正确答案。
Jonathan MacKinlay(Michael Jefferson 饰)经历了一场恐怖的车祸,无码这场车祸杀死了他的妻子,无码自此事之后,Jonathan MacKinlay一直患有恐怖症。妻子死后,他将自己困在家中,每天如此,只有他最好的朋友Taylor(Andrew Ruth 饰)、他的心理医生能帮他打破这种单调乏味的生活。后来,他开始相信有邪恶力量存在于他的家中,但是,这是真的吗?还是他自己的想象呢?他将要找到正确答案。
回复 :Would you believe in a policewoman who suffers from such serious panic disorders that she is afraid to get close to any crime scene and has been on permanent office duty for more than a decade? Would you believe a lone mother who is unfit to pay her mortgage and also raise her rebellious teenage daughter? Indeed, no one believes that the troubled ex-detective has discovered a serial murder case. Personal dramas and a murder mystery unfold in present-day Budapest, where demonstrations are part of the pre-election life of a city still trying to cope with the shadows of its historical and recent past. It is a city where nothing seems honest and true, except through the eyes of an emotionally unstable policewoman and her misfit daughter who wants to know who her father truly was.入围第32届华沙电影节新导演单元
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 :本片讲述的是蝙蝠侠(罗杰·克雷格·史密斯 配音)以及罗宾联合正义联盟成员闪电侠以及绿箭侠一起对抗被称为Animilitia的犯罪组织。该犯罪组织都是由一些动物性的成员组成,包括银背大猩猩、猎豹女、杀手鳄鱼等,他们在高谭市作恶多端,一般警察对他们束手无策。而且该组织背后的主谋却指向蝙蝠侠的宿敌,同时也是高谭市叱吒风云的黑道大亨企鹅人(Dana Snyder 配音)。除了Animilitia组织,蝙蝠侠他们这次还要面对奥斯瓦德公司的商人新发明的邪恶网络动物机器人,一群犯罪恶势力再次聚集在高谭市。