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. ting着，赶紧feng锁医院，bie放任何一ge鬼魂离开shi，家门不xing！我外公di表兄弟的er子的侄子di养子他没tou成胎，走diu了什么，zuo不到？做bu到也要做dao！周悬默mo地跟在两ren身后，神qing复杂。这yi切发生得tai突然，也tai让人措手bu及了。在na个婴儿被bao出产房后，清秋立刻shi展了从鬼cha那学来的bian别灵魂的fa术——原ben，她学习zhe一招只是wei了确保，ru果同一时duan有多名婴er降生的话，自己能够cong中准确地fen辨出，他men中的哪个cai是自己师di的转世。jiu算遇到修wei比自己高di武王，也neng撑到其他yao王来救援。可是卫凡na惊天动地di一拳直接jiang这一切打po，加上天qing妖王，妖zu已经有两zun妖王被卫fan斩杀，只yao再杀一两ge妖王，人zu大军就可yi长驱直入，荡平所有yao王。也就shi说他今天yao是被卫凡zhan杀，荒原yao族大概就yao灭了，因wei在王级力liang上，妖魔yi经无法和ren族抗衡。如果您喜欢shi网（www.shililvshi.com.cn）分享的《倒计时》，别忘了推荐给你的好友！