一个夜晚，日韩美艳而富有的女作家凯瑟琳（莎朗•斯通 Sharon Stone 饰）与某球星狂欢后驾车落入水中，日韩结果该球星死亡而凯瑟琳却安然无恙。警方怀疑这是一起谋杀案，委派精神病医生格拉斯（大卫·莫利塞 David Morrissey饰）对凯瑟琳进行精神鉴定。因为其他原因，凯瑟琳被无罪释放了。但此后她却要求格拉斯对其进行精神治疗，格拉斯也想通过凯瑟琳这个案例完成一篇学术论文。在这个过程中，格拉斯被凯瑟琳的美丽与智慧所吸引，渐渐忘记了医生与病人的原则，陷入了无法自拔的情爱之中。就在这时，他感觉身边的一切都发生了可怕的变化，而这些又都与凯瑟琳有关。他仿佛生活在这个女人所编织的无形的网中。那么他能够逃离这个危险女人的掌控吗？他该如何抉择？
回复 :大卫（詹姆斯·麦斯登 James Marsden 饰）是一位小有名气的剧作家，为了能有更好的创作环境，大卫携爱妻艾米（凯特·波茨沃斯 Kate Bosworth 饰）回到了风景宜人的南方老家。老家清新的空气和闲散的生活让两个疲惫的城市人感到十分的新奇，而在这靓丽的风景之下，原住民们对这对初来乍到的夫妻却并不能算得上友好。秉着息事宁人的态度，大卫对来自外界的种种歧视选择了默默忍受，甚至在妻子被一名当地的建筑工人设计强暴之后，他也只是希望能够大事化小小事化了。可是，大卫的一味忍让换来的却是变本加厉的欺负，当一群“野蛮人”试图闯入他家时，曾经懦弱的大卫选择了拿起武器，为了保卫自己最后的家园而战。
回复 :When a conman discovers his son is abducted, he is forced to drive the streets of Sydney completing an escalating series of trials to appease the kidnapper, and atone for his career of deception.
王启文
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
