少年时的秦牧川与传送过来的幼年形态苏杭相遇，小池开始了他们的羁绊。成年后，小池秦牧川梦想加入火种科技，但遭受失败并且经济压力巨大，通过代练《幻界》去赚取生活费和逃避现实。苏杭一直寻找秦牧川，某天敲开了他家的门，但秦牧川并没有记起苏杭是谁。就在二人短暂重逢不久，游戏世界穿越到了现实，异种入侵，二人开始了逃生旅程。 在过程中，二人的情感逐渐升温，背后的秘密也逐渐浮出水面。因为苏杭的穿越，导致未来逆反人类的星创提前诞生，并且启动和操控这个游戏。在未来，秦牧川是反抗军领袖，因为掩护苏杭牺牲。苏杭接受任务穿越到当代，要求培养训练秦牧川并带回未来。但苏杭并不愿意，只想在这个时代守护秦牧川。最后，苏杭牺牲自己与星创自爆，秦牧川活了下来。秦牧川因为救了火种科技领袖杨一，得以圆梦加入。为了复活苏杭，秦牧川开始研究星创残骸。
陈百强
回复 :
巫一凡
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
魔比
回复 :宫廷画师陆九卿意外用神笔打开画中世界，与草木精灵颜歌相遇。城内女子面容接连被毁，为查明真相，二人进入生死墓。妖王剥去众草木精灵面皮，丢失美貌的颜歌变狰狞枯枝，一场皮囊与真心的考验，摆在陆九卿面前……
