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.
Sensitive wallflower Cara exists in her humdrum life until the appearance of charismatic Jay unlocks powerful desires within her. When Jay's beautiful French lover arrives, Cara's journey to self-discovery takes a dark and unexpected turn, with tragic consequences. Written by Official
The story of a girl who, in an attempt to understand the mysterious suicide of her younger sister, embarks on a dangerous game, hoping to stop the curators of the "death group" pushing teenagers to suicide.
克里斯·凯尔(布莱德利·库珀 Bradley Cooper 饰)原本是一名普通美国牛仔,“911”事件以后他以30岁的高龄参加了海豹突击队,并成为了伊拉克战场上的一名优秀狙击手。参军之后克里斯认识了塔雅(西耶娜·米勒 Sienna Miller 饰),两人很快结婚生子,但是随着克里斯的多次出征伊拉克,两人的家庭发生了很多问题。战场上的克里斯十分优秀,被队友称呼为“传奇”,恐怖分子以高额奖金请职业狙击手猎杀他,但屡次都未得手,可是身边的队友却一个个遭遇不测,虽然妻子三番五次恳求他退伍,但是他抱着为队友复仇的信念最后一次出征……
本片改编自克里斯·凯尔的自传《美国狙击手》
十四岁的约翰从小就生长在修道院中,没有亲人,亦没有过去。一天,一位神秘的妇人安吉拉(玛利亚·若奥·巴斯托斯 Maria João Bastos 饰)找到了约翰,声称自己是他的亲生母亲,并且向约翰讲述了她曾经的故事。
安吉拉是侯爵的女儿,她和伯爵之子席尔瓦(何塞·阿方索·皮蒙特尔 José Afonso Pimentel 饰)相爱,遭到了父亲的强烈反对。然而,叛逆的安吉拉并没有屈服,她腹中怀着席尔瓦的孩子,决定与其私奔。暴怒的侯爵派出杀手刺杀席尔瓦,甚至连安吉拉腹中的胎儿也不放过,幸运的是,安吉拉得到了一位神父和令一位神秘人的帮助,约翰才得以长大。成年之后,约翰来到巴黎,遇见了一位贵妇,他答应帮助贵妇找到杀死她哥哥的凶手,让约翰没有想到的是,这名凶手竟然正是当初帮助过他和他母亲的神秘人。
精神病院一场惨烈的大火,令无数人丧生祸害,妮儿·史威特(阿什丽·贝尔 Ashley Bell 饰)作为唯一的幸存者活存于世。这一日,没有任何知觉的妮儿突然醒来,她已经忘记前几个月发生的事情,只依稀残留对恶魔的恐怖记忆。弗兰克·默勒(缪斯·沃森 Muse Watson 饰)将其带回自己开办的创伤少女关怀机构,希望通过科学的方法帮助妮儿远离邪教的影响,找回健康、正常的人生。在弗兰克的帮助下,妮儿尝试相信所谓的超自然都只不过是幻想而已,她在此与美丽女孩格温(朱莉娅·加纳 Julia Garner 饰)结为好友,也与名叫克里斯的男孩(Spencer Treat Clark 饰)互生好感。
然而恶魔并未忘记它唾手可得的猎物,身处阳光下的渐渐被彻骨寒冷的恐怖阴影所覆盖……
Creature of habit, Jon Smith, spends his days mindlessly working as a barista in New York City. When night falls, this seeming everyman savagely kills "filthy women" as his social outlet. A chance encounter with Delia, a young prostitute searching for an escape from her troubled past, forces Jon to confront the most terrifying thing he has ever faced in all his dark affairs - himself. All God's Creatures examines the true nature of what it means to be a monster and reveals that love is not only for a chosen few, but for all God's creatures.