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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. ddd
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托马斯·米连 艾德丽安·拉鲁萨 乔治·威尔森 Mavie Bardanzellu Antonio Casagrande Ignazio Spalla Max Steffen Zacharias 雷蒙·佩尔格兰 马西莫·萨尔基耶利 Mirko Ellis John Bartha Calogero Micciche' Gustavo D'Arpe 翁贝托·多尔西 Alfio Petrini Maciej Rayzacher 斯特法诺·奥佩迪萨诺 吉安卡洛·巴德西 埃内斯托·
A young Italian noblewoman plots with her lover and her family to murder her abusive father leading
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巴内·克拉克 杰里米·斯威夫特 伊恩·麦克尼奇 理查德·杜登 蒂莫西·贝特森 安迪·德拉图尔 约瑟夫·特雷曼 彼得·科普利 约翰·内特尔顿 托尼·诺布尔 Michael Heath 特蕾莎·邱吉尔 克里斯·奥弗顿 杰拉德·霍兰 莫嘉娜·波兰斯基 丽兹·史密斯 哈利·艾登 本·金斯利 Lewis Chase 莱恩·罗 奥菲利亚·拉维邦德 Elvis Polanski 爱德华·哈德威克 帕特里克·戈弗雷 艾伦·阿姆斯特朗 杰米·弗尔曼 Frances Cuka 保罗·布洛克 马克·斯特朗 杰克·库兰 尼克·斯
本片根据英国作家狄更斯1838年的名著《雾都孤儿》改编。
孤儿奥利弗(巴尼?克拉克 Barney Clark 饰)由教会抚养长大,9岁时被送去童工厂拣填絮,后被卖给棺材铺当学徒,屡受欺侮。奥利弗从
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正如马提欧·加洛尼的《格莫拉》取得了不菲的国际声誉一样,又一部关于那不勒斯暴徒的电影已经准备好了席卷意大利的大银幕并企图搅乱全世界。加洛尼的自然主义犯罪作品是基于报社记者罗伯特·萨维尔诺关于那不勒斯的
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