《倒計時》是由知名导演大衛·格瑞尼 执导的一部劇情片，珍妮·艾加特 布萊恩·馬歇爾 Clare Sutc 等倾情出演，该片讲述了：The story appears simple on the surface, b ut is reve aled, especially afte r multiple viewings, as more multi-layered and textured than Cassa vetes at his bes t. Ostensibl y it concern s a 14 -year old Catholic girl , Wynne (Agutter) g rowing up i n this p ost-modern wasteland, who d evelops a crush on her much older adoptive brother (Marshall)- a crush which p erverse ly deepens a nd grows into infatuation once she star ts to believe he is the local sex killer . This is i n itself an idea that m akes you sit up a nd jo lt, but as the narrative develop s, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family& #39;s hist ory, (detailed eff ectivel y in chilling flashbac k during an improvised seance) is a ch equered one, and ha s suff ered a t least one major relocation a nd upheaval in the last ten years. At th e crux, however , it' ;s the depiction of socialal changes that make I Start Counting s o fasc inating and elevate its language far beyond the confine s of the standard horror film. The major subtext- tha t teenage g irls were maturin g more quickly than before, and de veloping full sexua l and ro mantic appetites (ev en if in thought rath er than deed ) bu t were not possessed of enough discretion to make the right choic es- was a step forward for a genre i n which its young females had previously b een portra yed as bimbo victims (Cover Girl Killer and The Night Caller sprin g to mind), but not one that all viewers would necessarily agree with. But most s trikin g of al l, and possi bly the most enduring image which th e viewer will take away wit h them, is of the masterful symbol ism with which d irec tor Green e invests ev ery shot. Every inch of the K inch family's world- thei r house, their wal ls, their TV, Agut ters underwear, bedroom furniture and toys, Sutcliffe';s clothes, Marshalls van, the local Catholi c church, thei r town centre, their record shop) - is pai nted a br ight, scintillating white- a white which, by inference, i s sl owly becomi ng smudged and cor rupted with the di rt of t he ou tside wo rld. White also symbolises, of course, purity and innocence (two qualitie s Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violatio n and pene tration), conducted by the lec herous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where A gutter believes she see s the Ch rist figure i n church weepin g blood: by the time w e acknowledge it, its gone, but the seed ha s already been pl anted. Rarely i n a genre produc tion has the use of colo ur and background been so important or effective in creating a uniformity of mood. I Start Counting is as ne ar-perfect an end to a decade a s one could hope for, and exac tly the kind of film people should be making now- w hich is, of course, exact ly why they never will. A genre essent ial. by D.R. SHIMON@lounge.mo viecodec.com 宁知意点头 ，“他现在每次来，都是从这里 进。”说到这里，她想到什么，现场给她 复制了一枚玉简，“陆望老祖 参与了仙上楼三百六十八家的禁制改造，他在 各店都弄了一个随机传送阵，你记住各店传送阵的位置，以后 出门遇到危险，寻 就近的仙上楼，百里 内随时可定位传送。”
