剧情简介
《巨鱼》是1996年上映的美国电影，日韩由杰夫 布莱克纳 (Jeff Bleckner)导演。William Petersen，日韩Karen Sillas主演。《巨鱼》讲述一个酷爱潜水者和一个水手，经不住海洋的魅力，两人和他的一个非常喜爱生物的朋友一块儿出游。就当他们玩得非常开心的时候，却有了新的发现，在生物学家和水手的强迫下，船长不得不将船继续往不明物靠近，却没有想到... ...
日韩一二三区免费视频
《巨鱼》是1996年上映的美国电影，日韩由杰夫 布莱克纳 (Jeff Bleckner)导演。William Petersen，日韩Karen Sillas主演。《巨鱼》讲述一个酷爱潜水者和一个水手，经不住海洋的魅力，两人和他的一个非常喜爱生物的朋友一块儿出游。就当他们玩得非常开心的时候，却有了新的发现，在生物学家和水手的强迫下，船长不得不将船继续往不明物靠近，却没有想到... ...
范宗沛
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
回复 :The lady is Mrs. Hilyard, a wealthy poetess who lives in a three-story city mansion and her cage is her elevator, which stops a dozen feet short of the main floor due to an electrical failure on a July 4th weekend. She rings her outside alarm, eventually noticed by a drunken derelict, who breaks into the house, ignores her plight and helps himself to various items and alcohol. He leaves with his loot but returns a while later with a plump prostitute and three teenage hoodlums, who proceed to terrorize Mrs. Hilyard as they wreck her home.
回复 : 明末皇帝昏聩，庆王内外勾结密谋造反，护国密探罗冰拿到了关键证据被劫杀，身负重伤被...
