剧情简介
在目睹一名病人诡异的创伤经验之后，母亲萝丝·卡特医师（索茜·贝肯 饰）开始经历一些她无法解释的恐怖事件。当一股令人不寒而栗的可怕力量开始占据她的生活，母亲萝丝就必须面对她令人不安的阴暗过去，才能够存活并逃离她充满恐惧的全新现实。
母亲与疯子们
在目睹一名病人诡异的创伤经验之后，母亲萝丝·卡特医师（索茜·贝肯 饰）开始经历一些她无法解释的恐怖事件。当一股令人不寒而栗的可怕力量开始占据她的生活，母亲萝丝就必须面对她令人不安的阴暗过去，才能够存活并逃离她充满恐惧的全新现实。
陈晓琪
回复 :陈永霖（谭耀文 饰）是一个在泰国居住和工作的心理咨询师，这一天他接待了名叫沙青（吕聿来 饰）的华人男子。沙青为人诚恳老实，与业余时间寻欢作乐的老板和同事全然不同。不久前，他邂逅了超凡脱俗的泰国女孩邢潇（宝儿 Treechada Petcharat 饰），双方迅速坠入爱河，并且没有通知任何人就悄悄举行了婚礼。然而之后发生的几件事让沙青心存芥蒂，偶然见到邢潇的老板和同事似乎都把她错认为曾经发生过关系的夜店女孩。邢潇矢口否认，怎奈沙青如鲠在喉，他甚至梦见老板在夜晚的街道被人杀死。不久后，老板真的神秘失踪，而沙青的精神也几乎崩溃，他好像越来越看不懂自己的妻子了……
回复 :A new sheriff of a small town along the U.S. & Mexico border investigates a drug cartel deal that went horribly wrong.
彭学斌
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
