顾蕾（陈文倩 饰）和彭苏（曹子辰 饰）是一对交往已久的恋人，欧美彼此之间感情十分要好。某日，欧美两人来到了蓝湖小区，在这里租下了一套房子，在此地建筑两人共同的爱巢。一次偶然中，彭苏结识了住在隔壁的周雅雅（石雨晴 饰），周雅雅开朗乐观又健谈，给彭苏带来了如同春风拂面一般清新的感觉，两人之间竟然有一种相见恨晚的感觉。随着时间的推移，彭苏和周雅雅之间的关系渐渐超越了友谊，变得暧昧起来，而向来敏锐的顾蕾亦捕捉到了这不寻常的变化。终于，彭苏和周雅雅的地下恋情曝光了，顾蕾陷入了绝望和愤怒之中。周雅雅同样不甘示弱，她竟然怂恿彭苏设计杀死顾蕾，以成全他们两人的感情。
安七炫
回复 :冈田进（滨田岳 饰）和安藤勇次（室毅 饰）是东京一家清洁公司的小员工。与毫不自信的阿进不同，安藤哥的感觉似乎格外良好，这一切源于他对爱情的自信。安藤喜欢上了某咖啡馆的服务生阿部由香（佐津川爱美 饰），他要求冈田为其出谋划策。与此同时，他们发现由香似乎被某个男人盯上了。阿进注意到，那名跟踪者是自己的老同学森田正一（森田刚 饰），有着黑暗历史的森田周身散发着黑暗的死亡气息。令阿进意想不到的是，由香居然对他格外中意，两人于是陷入热恋。当阿进发愁如何向安藤哥讲明情况时，双手沾满鲜血的森田则悄然向他们逼近……本片根据古谷实的同名漫画改编。
回复 :故事聚焦一位叫丽贝卡的年轻女子，尽管离家多年，她仍然存有童年阴ddd。在开关灯的时候，她从来分不清什么是现实、什么是虚假。现在她的弟弟马丁正在经历着与她过去相同的恐怖事件。一个可怕的恶灵实体再度出现，威胁着他们的生活。不过这一次，丽贝卡比任何一次都要接近真相。
张娜拉
回复 :This early 70's giallo by Umberto Lenzi is certainly among the best in his filmography and also in the whole genre. Personally I think Lenzi's best films are the funny cartoon-turned-film Kriminal, the stylish giallo Seven Blood-Stained Orchids, the explosive Napoli violenta and this. In the eighties he did plenty of film trash in form of Eaten Alive, Hitcher in the Dark or Black Demons, all of which are ripping something off and/or very dull and slow moving. Knife of Ice came when the giallo boom was at its hottest and the result is convincing.Technically the film is superb, containing great cinematography in the beginning when we learn about the main character's trauma towards trains. From this point on, Lenzi shows us his ability to benefit the widescreen and, for example, the bicycle ride near the forest is genuinely beautiful! This scene also shows Lenzi's ability to build suspense, very slowly but meaningfully. After all, there aren't so many murders in the whole film, only the suspense circulating around the murderer's identity.One suspect is a devil worshipper which brings new aspects to the mystery. Since the final scene takes place in a church, one can wonder if Lenzi wanted to comment on something, maybe the hypocritical morale of church and superstition. The main character (Carrol Baker) is mute which demands a lot from her face and eyes. The actress works very well, giving us a believable performance circulating around the emotions of fear and mental pain. The other actors are good, too. The finally, however, may not give too positive a sight about female sex since they all are expressed rather negatively in the film, one way or another. Still this is easily among the most noteworthy in the genre, not as bloody as the Argento films, for example, but equally suspenseful and visually also interesting.
