簡(jiǎn)介：影片的故事背景設(shè)定在蟲(chóng)獸與人類(lèi)20年持久戰(zhàn)之后的一次偷襲。面對(duì)這一前所未有的災(zāi)難，人類(lèi)戰(zhàn)警挺身而出，與異形蟲(chóng)獸展開(kāi)了一場(chǎng)生死搏斗，誓死守護(hù)人類(lèi)家園。

簡(jiǎn)介：五代十國(guó)是一個(gè)神秘、紛爭(zhēng)、奇人奇事不斷的年代。瘋狂的周世宗自以為天下第一，但是病總是不能根治?；屎蟆⒃紫嗪推渌甲訉ぴL(fǎng)天下第一名醫(yī)張伯謹(jǐn)，其人醫(yī)病不按牌理出牌，他要求天下第一名畫(huà)的華陀再世圖為酬，結(jié)果天下第一畫(huà)卻想尋得天下第一美女以摹擬其相貌完成壁畫(huà)。第一美女卻要天下第一美玉....

簡(jiǎn)介：生活一塌涂地的機(jī)車(chē)黑手魁手（庹宗華 飾）帶著女兒小玲（庹詠綺 飾）搬到租金便宜的頂樓加蓋，打算重新生活；沒(méi)想到隔壁竟暗藏了一間由按摩小姐雙雙（謝盈萱 飾）與夢(mèng)夢(mèng)（潘之敏 飾）開(kāi)設(shè)的色情按摩工作室。魁手擔(dān)心青春期的小玲會(huì)價(jià)值偏差，便伙同機(jī)車(chē)行學(xué)徒喇叭（詹懷云 飾）想盡辦法趕走雙雙與夢(mèng)夢(mèng)，但沒(méi)想到生命真正的痛處卻是社會(huì)的殘酷與現(xiàn)實(shí)。

簡(jiǎn)介：有一個(gè)古老的儀式已經(jīng)為人所知超過(guò)一百年了。傳說(shuō)，人們對(duì)著鏡子說(shuō)三遍黑桃皇后的名字，她就可以通過(guò)畫(huà)在鏡子上的門(mén)和樓梯被召喚出來(lái)。黑桃皇后從照鏡子的人中獲得能量，她會(huì)剪睡夢(mèng)中的人的頭發(fā)，那些看到她的人不是瘋了就是死了。四個(gè)年輕人開(kāi)玩笑決定要召喚她，但是當(dāng)其中一個(gè)人死于突發(fā)性心臟病，剩下的幾個(gè)人意識(shí)到他們要面對(duì)的是匪夷所思的事件和死亡的危險(xiǎn)。

簡(jiǎn)介：Harry Palmer已經(jīng)離開(kāi)了英國(guó)情報(bào)服務(wù)部門(mén)并成為一個(gè)私家偵探。他接到的第一個(gè)業(yè)務(wù)就是帶一樣?xùn)|西去赫爾辛基，可是他帶在身上的東西可沒(méi)那么簡(jiǎn)單，他開(kāi)始懷疑他這個(gè)億萬(wàn)富翁到底給了他什么……

簡(jiǎn)介：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.