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高清影院

倒计时
英国英语1969
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. 

高清影院

碧血宝刀
大陆国语1991
  清朝道光年间,道光皇帝因一时震怒.命侍卫王得宝持宝刀赐宠妃自刎。片刻之后,即感后悔,急命人收回成命,但宠妃已死。道光不愿再见到王得宝及宝刀,便命王得宝携刀远走他乡。此时,江南一带出了个淫贼大剑侠,他凭借着一对锋利无比的鸳鸯剑欺男霸女,无恶不作,百姓们敢怒不敢言。中原武林高手镇洛阳刘鹏决心为民除害,但终因不敌鸳鸯宝剑而命归黄泉。临终前,刘鹏嘱咐爱徒裘文焕定要设法找到王得宝,除掉恶贼。在京城,裘文焕结识r黑张等豪杰,并与美丽的牡丹姑娘一见钟情。聚英豪大镖局的镖头铁球流星鲍子龙唯恐裘文焕一旦得到宝刀,将威胁自己称霸武林,因此百般阻挠。他勾结醉眼神狮耿春雄设下圈套,将牡丹骗至酒楼作人质,逼裘文焕在三日之内以宝刀换人。裘文焕竭尽全力营救牡丹均未成功,只好四处寻找王得宝。在黑张的帮助下,裘王二人终得相见。王得宝早在暗中观察裘文焕,了解他的人品、武艺及寻找自己的目的。为惩恶扬善,王得宝将宝刀慨然相送,并教给裘文焕一套对付鸳鸯剑的绝技“疾风断剑法”。裘文焕持刀去换牡丹,岂料耿春雄等背信弃义,拒不放人。裘文焕怒不可遏。与他们展开殊死搏斗。黑张为救牡丹不幸身亡。裘文焕悲愤交集,越战越勇,终于将耿春雄、鲍子龙杀死。在灵霄阁,裘文焕终与仇人大剑侠相遇。裘文焕的“疾风断剑法”大展神威,几个回合即使恶贼毙命刀下,为民除了害,为师傅报了仇。

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