故事发生在民国初期，日本苏承志（王燕阳 饰）刚刚和恋人任书烟（马丹旎 饰）喜结连理，日本小两口还沉浸在新婚的幸福之中。这一日，两人和同门的另外五个师兄妹一起回老家古宅游玩，一群人一时兴起，竟然玩起了通灵的笔仙游戏。哪知道，原本只是好奇心作祟的一场闹剧，却逐渐演变成了挥之不去的噩梦。一场突如起来的暴风雨截断了回程的道路，在被困的这段时间里，离奇的事件不断发生，师兄妹们接连死于非命，幸存的人们知道，凶手一定就隐藏在他们之中，但此时众人早已经无处可逃。苏承志决定调查案件背后的真相，哪知道就此揭开了尘封在这栋大宅子里长达二十年的秘密。
自然主义合唱团
回复 :讲述赵家之女赵织织阴差阳错与男主段子矜相爱，而后又发现两家势不两立，无法走到一起的虐恋故事。
自然主义合唱团
回复 :最丰富的地区，因仅分佈在南北纬约30度之间的热带浅海，素被称为「海洋中的热带雨林」。印度尼西亚拉的拉贾安帕群岛拥有全球75%以上的珊瑚，生态脉络错综丰富。在这个珊瑚礁乐园里，生存仰赖高明的伪装，觅食要靠诈欺与骗术；繁殖可以自我复制，也可以用「卵海战术」亲缘集体生殖…连科学家都眼花撩乱的生态系统里，是盟友还是敌人？或许牠们自己也不清楚。
琥珀
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
