剧情简介
尼古拉斯·凯奇和乔尔·金纳曼将主演心理惊悚片《同情恶魔》(Sympathy for the Devil)，同睡尤瓦尔·阿德勒(《生死狙击》《女特工》)执导，同睡卢克·帕拉迪斯编剧，正在拉斯维加斯拍摄中。讲述一名司机(金纳曼)在被迫为一名神秘男子乘客(凯奇)开车后，发现自己陷入了一场高风险的猫鼠游戏，开启惊险刺激的旅程。
同睡视频
尼古拉斯·凯奇和乔尔·金纳曼将主演心理惊悚片《同情恶魔》(Sympathy for the Devil)，同睡尤瓦尔·阿德勒(《生死狙击》《女特工》)执导，同睡卢克·帕拉迪斯编剧，正在拉斯维加斯拍摄中。讲述一名司机(金纳曼)在被迫为一名神秘男子乘客(凯奇)开车后，发现自己陷入了一场高风险的猫鼠游戏，开启惊险刺激的旅程。
吉川晃司
回复 :荷拔韦斯医生和他的助手丹凯恩再次尝试使死人复活，他们找来密斯科汤尼克医学院大屠杀的死人肢体，这次要把丹前任女友的心脏，放进“组装完美”的身体里，试图重造他的女友，但却发生意想不到的结果，而希尔医生只剩下一只头颅回来复仇。这第二部比第一部更加变本加厉的离奇夸张：接在小狗身上的人手、眼球和手指组合的恶心怪物以及插上两只蝙蝠翅膀而会飞的人头等都让观看影片的观众张大了嘴，尤其影片最后的高潮部分“拼凑美女”更是让我们沉醉于无限的惊恐与恶心当中。
辛宝达
回复 :A father and his daughter, suffering from major hearing loss, arrive at a construction site for work. They are soon taken hostage by a dangerous couple, and must work together to outsmart their captors and survive the night.
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
