剧情简介
西南偏南电影节联合创始人Louis Black与Karen Bernstein执导的一部关于美国著名导演导演理查德·林克莱特的纪录片。理查德·林克莱特美国影坛最成功的独立影人之一，国产代表作“爱在”系列三部曲《爱在日落黄昏时》《爱在黎明破晓前》《爱在午夜降临前》、国产《少年时代》等经典作品
国产无码电影
西南偏南电影节联合创始人Louis Black与Karen Bernstein执导的一部关于美国著名导演导演理查德·林克莱特的纪录片。理查德·林克莱特美国影坛最成功的独立影人之一，国产代表作“爱在”系列三部曲《爱在日落黄昏时》《爱在黎明破晓前》《爱在午夜降临前》、国产《少年时代》等经典作品
回复 :七月十五黄道之昌，五星连珠之时，僵尸王在诅咒中醒来以极其残忍的七杀空间对付世人，整个阴阳两界陷入魔道之中，惊现魔幻界！ 唯一解救的方法便是到五行堡夺取五行旗对付七杀空间！黑白两道长重回茅山夺取五行旗对付僵尸王，而以茅山道中，能夺取五行旗者便为天下第一茅山道，所以黑白两道长之间恶斗的同时又要齐心协力对付僵尸王，一场混战就此开始。
回复 :首部长片便赢得戛纳影展金摄影奖的澳大利亚导演沃里克桑顿，自编自导的《新男孩》邀来奥斯卡影后凯特·布兰切特重返澳大利亚影坛，饰演1940年代战时澳大利亚的修女，收留睡不惯床铺、不说文明语言，却对万物充满灵性的原住民男孩，直到她发现男孩掌心发光的秘密。绝美荒芜图像结合摇滚诗人尼克凯夫与华伦艾利联手打造的配乐，情绪丰沛且充满感染力，成功将未知与神秘转换成深刻视觉感受。透过画面也仿佛向基督教文明提出质疑，信仰是否只能有一种途径？
郑载旭
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