动作片 · 1989 · 其它

导演：马克·戈德布拉特

主演：杜夫·龙格尔 小路易斯·格赛特 杰罗恩·克拉比 金·米约里 布莱恩·马歇尔 南茜·艾薇哈德 巴里·奥托 八卷建志 Larry McCormick 托德·博伊斯 拉尼·约翰·图普 John Negroponte Christian Manon May Lloyd 布鲁克·安德森 Donal Gibson Ken Wayne 理查德·卡特 Char Fontane 罗斯琳·詹托 Jade Gatt 

　　杜夫·龙格尔饰演神出鬼没的正义使者，为了替家人报仇，于五年内单枪匹马干掉一百二十五名黑帮分子，导致法兰哥家族群龙无首。于是帮会邀请在当年下令杀害警察凯索一家而仓惶走避他乡的法兰哥再度出山重振黑帮声威，警方则派出警探伯克维兹追捕正义使者。他怀疑此人就是他以前的警察搭档凯索，在女警莎曼协助下发现惊人内幕。

剧情片 · 1969 · 英国

导演：大卫·格瑞尼

主演：珍妮·艾加特 布莱恩·马歇尔 Clare Sutcliffe 西蒙·沃德 

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.