剧情简介
昭和20年、天天満州。敗戦とともに日本人たちの退却が始まりました。日本へ帰る道のりで、天天幼いキクちゃんは病に侵されてしまいます。家族に置き去りにされ、弱りきっていたキクちゃんを救ったのは、一匹のオオカミでした。オオカミの看病のおかげで元気になったキクちゃん。しかし、次第に食糧はなくなっていきます。オオカミは危険を承知で、人間の町へ連れていくことにしたのですが……。
天天综合网日韩中文字幕
昭和20年、天天満州。敗戦とともに日本人たちの退却が始まりました。日本へ帰る道のりで、天天幼いキクちゃんは病に侵されてしまいます。家族に置き去りにされ、弱りきっていたキクちゃんを救ったのは、一匹のオオカミでした。オオカミの看病のおかげで元気になったキクちゃん。しかし、次第に食糧はなくなっていきます。オオカミは危険を承知で、人間の町へ連れていくことにしたのですが……。
回复 :Two dysfunctional couples rent a modern luxury desert home for the weekend hoping to sort out their messed-up lives. Just as they are about to settle in for a fun night, a neighbour turns up at their front door saying she has car trouble. And that's when the murderous trouble really starts. Because without knowing it, the four friends have landed slap-bang in the wrong violent place at precisely the wrong bloody time. Hopefully your nerves of steel will hold for one of the most stylish, atmospheric and terror-filled home invasion horrors of them all.
回复 :一起神秘的死亡时间吸引了古生物学家凯丽（布里吉特·芳达 Bridget Fonda 饰）的注意，为了了解事件的真相，凯丽千里迢迢的赶到了案发地——一个古老的湖泊，而之后发生的事情更让凯丽确信，在这平静的湖面下，隐藏了什么可怕的东西。凯丽的猜测在小镇上引起了轰动，有些人信以为真，另一些人则不以为然。就在舆论的热度到达最顶峰之时，一个游客被不明物体拖入湖中的惨剧让所有人都意识到，事情严重了。凯丽和管理员杰克（比尔·普尔曼 Bill Pullman 饰），警长汉克（布莱丹·格里森 Brendan Gleeson 饰）等人围绕着古湖展开了调查，令人震惊的是，在湖底，他们发现了一只异常凶猛巨大的史前巨鳄。
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
