荣帝丞
发表于8分钟前
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:经营地摊的福顺（金高恩饰）和唯一的妹妹相依为命，虽然有点不足但福顺是出了名的“疯女子”，只要一得罪她便等于惹了大祸。某一天在福顺面前出现了一个冷血杀人魔泰秀（李民基饰），为了隐瞒自己的秘密泰秀还加害于她的妹妹，为了替妹妹报仇，毫不犹豫拿起刀的福顺，而泰秀省得麻烦，也打算干脆把福顺也杀死。杀人魔独白：曾经有人和我说过，不畏惧任何东西的人才是最可怕的，我杀了好多人，毫不犹豫的，谁答应我帮忙的请求，我会连那个人也杀掉。但在今天，我却碰到了个奇怪的女人，一个行尸走肉活着的疯女人，好像挺有意思的。福顺的独白：虽然我比不起其他人的生活和能力，但我是个很守约定的人，我曾经对奶奶发誓，我绝不会让任何人伤害妹妹一条头发，今天，我却遇上了一个没血没肉的冷血杀手，我一定会追杀到底。他，真的杀了我妹妹？
大森洋平
发表于1分钟前
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: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
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