剧情简介
时间季Cinestate's Castle Freak reboot based on H.P. Lovecraft's story The Outsider.
时间管理局第三季
时间季Cinestate's Castle Freak reboot based on H.P. Lovecraft's story The Outsider.
杨致焕
回复 :随着社会的进步，人们出行的方式也不断发生改变。阳光明媚的一天，心怀不可告人秘密的王思瑶（倪景阳 饰）、时尚女郎红雨（郭艳 饰）、律师冯乐（段卿卿 饰）以及小画家兰庆庆（孔铭 饰）坐进冯建军（张羽 饰）驾驶的商务车，以拼车的方式前往蓟县。老冯乐观外向，不过这一趟活儿他可着实乐不出来。红雨和冯律师之前有过节，二人针尖对麦芒，争吵不断。老冯半路上和人开斗气车，导致拖底受损，夜间行车又偏偏赶上狂风暴雨，刹车失灵。在此期间，他还搭载了一个受伤男子丛剑（连凯 饰）。被逼无奈，众人投宿音乐家毕克（包小柏 饰）和其身为芭蕾舞演员的妻子娇娇（金晨 饰）位于野外的别墅。谁知夜深人静之时，诡异事件接二连三发生……
谢宏
回复 :讲述了流浪狗罗杰和废弃机器人鲍勃带领被抛弃的宠物们打败试图用机器人代替人类的未来之城统治者弗兰克斯通，恢复了未来之城平静的故事。在这段爆笑不断但又惊险十足的旅程中，原本自私、骄傲、任性、懦弱的宠物们也慢慢找到了真我，变得勇敢、团结、互帮互助，实现了自我的价值，而流浪狗罗杰和原本被当做废品抛弃的鲍勃这两个失败者，也在和现实生活的对抗中逐渐开始重新面对生活。
撒小乐团
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
