F
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查恩·厄尔马克
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青年男子阿尔贝（瑟玛尔·侯奴 Cemal Hunal 饰）是一家餐厅的老板，有着很好的工作，事业成功，却过着离群索居的生活。他每天和不同的女人做爱，付她们钱，却从不留任何人过夜。他这样自由而孤独地生活着，自由却寂寞。直到他在二手书店邂逅了美丽的女子艾达（梅莉丝·柏坎 Melis Birkan 饰）。他对艾达一见钟情，并对她展开了热烈的追求。艾达自己经营着一家创意服装店，她从一开始就知道以阿尔贝这样的性格他们注定是分离的结局，但还是难以抵抗他迷人的魅力，与他陷入爱河。习惯了独住的阿尔贝一直无法舍弃自由的生活方式，难以完全溶入艾达，纵然她开朗、迷人，宛如天使。他挣扎，茫然，不知道该如何处理两人之间的关系......©豆瓣
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皮埃尔·舍恩德费尔
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In 1954 Vietnam, at the time of Diên Biên Phu, a French unit on patrol under the command of an inexperienced lieutenant is gradually depleted by Vietminh until only an ex-Wehrmacht Alsatian adjutant remains. He is to die, a title informs us, in Algeria in 1960.
Semi-documentary in style, this is an effectively low-key appraisal of the difficult choices with which war confronts its soldiers. As so often in Vietnam films the enemy is only glimpsed from a distance, the camera remaining a disembodied observer among the group. Bertrand Tavernier acted as co-writer on the film.
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大卫·格瑞尼
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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
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费尔南多·迪·莱沃
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Fernando Di Leo's "Milano Calibro 9" is an out-and-out masterpiece of Italian Crime cinema and, in my opinion, one of the most astonishing crime stories ever told. The first film in Di Leo's excellent 'Milieu' trilogy, "Milano Calibro 9" was followed by "La Mala Ordina" (aka. "Manhunt", also 1972) and the brilliant "Il Boss" (1973). The three films are not connected story-wise, but all three are excellent, and highly realistic portrayals of organized crime. As far as I am concerned "Manhunt" is (allthough excellent) slightly inferior to this one and "Il Boss" which both stand out as absolute all-time highlights of crime cinema. "Milano Calibro 9" is the best of them all, a film that is astonishing in all aspects, be it the ingenious plot that, apart from a compelling story and clever twists, includes social criticism, the performances, the gritty atmosphere and suspense or the brilliant score. I can hardly find the right words to express my admiration for this masterpiece which easily ranks among the greatest Gangster flicks ever brought to screen.
Gastone Moschin stars as Ugo Piazza, a tough and elliptical ex-convict who has just been released from prison. Immediately after his release, Ugo is approached by members of the Milan mob lead by the irascible gangster Rocco (Mario Adorf), as they suspect him to be responsible for the disappearance of a large sum of money belonging to their boss, an American (Lionel Stander) who controls the organized crime in Milan...
"Milano Calibro 9" is a film that delivers an astonishingly realistic mood of the underworld like hardly another. The intriguing storyline goes in hand with interesting characters, raw atmosphere, suspense and breathtaking action, social criticism and brutal violence. The film is simply stunning from the beginning to the end, which is even intensified by the brilliant score, a collaboration of the famous composer Luis Enríquez Bacalov and the Italian Progressive Rock band Osanna. Ugo Piazza must be one of the most charismatic gangster characters ever in cinema, and Gastone Moschin was the prefect choice for the role. Moschin delivers a brilliant performance, and the rest of the cast is also great. Mario Adorf is irascible like a rabid dog as the ferocious gangster Rocco, a role that fits him like a glove. The great Lionel Stander fits perfectly in his role of the American Mafia Don.
The two cop characters in the film are played by two of the greatest regulars of Italian genre-cinema, Luigi Pistilli and Frank Wolff (who committed suicide before the film was released). The ravishing Barbara Bouchet is astonishing and incredibly sexy in the role of Ugo Piazza's stripper girlfriend. Bouchet is both a stunning beauty and an excellent actress and this is doubtlessly one of her most memorable roles. This is also a political film and director Di Leo embedded a lot of social criticism about topics like corruption. This film simply has everything one can possibly desire in cinema. Films like "Milano Calibro 9" are the reason why I love cinema. This is an absolute masterpiece in all regards and, without exaggeration, one of the greatest Crime flicks ever made! The ingenious opening scene alone is more memorable than most films get in two hours.
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彼特·克林逊
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该片被公认为英国电影的巅峰佳作之一，在英国电影学院评出的100部最佳英国电影中名列第36。片中汇集了大批当年英国影坛的红人。大盗查理(迈克尔·凯恩)刚出狱就急不及待要大乾一票，准备截劫从中国运到意大利的四百万美元黄金。查理在一名黑道头目资助下，展开了一个天衣无缝的盗金计划，出动了三架库珀豪华车、一队积架车及公车来堵塞交通。片中一幕宝马库珀豪华车(MINI Cooper)在好莱坞名人大道上疯狂地追逐，穿过地铁隧道入口，沿着只有迷你汽车才能行驶的狭窄小路狂奔，被认为是影史上经典飙车追逐场面，让观众体验到前所未有的紧张刺激......
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米克·杰克逊
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本片根据自幼患有自闭症的美国动物科学家、畜牧学博士——天宝·葛兰汀（克莱尔·丹尼斯 Claire Danes饰）的个人自传改编而成，讲述天宝与众不同的成长经历。 天宝四岁时被医生诊断为自闭症，母亲尝试多种方法让天宝开口说话。为了让天宝拥有正常人的生活，妈妈忍痛送她去一间寄宿学校念书。在这里，天宝认识了开启她天赋大门的恩师卡洛克博士。在恩师的帮助下，天宝顺利考入了大学。临上大学前的暑假，天宝来到姨妈家的农场度假。自此，天宝对牲畜产生了浓厚的兴趣。在大学里天宝制作“挤压机器”来平复紧张情绪。毕业后，天宝继续从事畜牧业的研究学习，设计出大大提高屠宰率且更为人道的屠宰方式。天宝以她独有的方式去认知世界，“像牲畜一样的思考”，在自闭症研讨会上大声的讲出自己的亲身经历……
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Aleksandr Melnik
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2013年，世界政府全面废除死刑，监狱挤满了暴力与逃亡者之时，国际团体打造一个新实验称作"冰魔岛"，一个位在北冰洋的偏僻小岛。在这里，所有的囚犯都是居民，没有警卫看守，犯人们必须学习生存三个月… 所有的犯人开始焦躁不安并起了纠纷，他们分成不同派系互相仇敌，在管理员丢下钥匙离开後，整座岛上无人看守，犯人们为了争夺食物大开杀戒，每个派系的囚犯建造了属於他们自己的监狱规则，在管辖范围里反抗者就是死！ 伊凡乔吉维奇 - 是个杀了二十个人的连续杀人犯，他决定自行开创他们的路，但是当冬天来临，他发现他们无法活著回去，最後似乎只有一个方法可行.......
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蒂姆·费威尔
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根据莎拉·沃特斯同名小说《Affinity》改编而成。 父亲死后，郁郁寡欢的玛歌（Anna Madeley饰）来到迷畔监狱担任志愿探访者，她和女囚犯们交谈，引导她们“重塑新生”。 很快，玛歌在囚徒中发现了一个谜样的存在，那就是杜思林（Zoë Tapper饰），杜思林因“欺诈和袭击”罪名入狱，可她坚称自己的清白，她表示自己是沟通现世和彼世的灵媒，不幸的是，在一次通灵现场，她的监护灵失控，才使得无辜的人丧命。杜思林的楚楚可怜样使玛歌产生了怜悯之意，而杜思林竟能看透自己内心深处对弟妹那难以启齿的感情，并通过灵界朋友送来花朵和头发更让玛歌对其超能力深信不疑。 在杜思林的导引下，玛歌开始领略到生活的真谛，爱的真谛，她再也不能坐看杜思林身陷囹圉，不想一幕悲剧就此上演……
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温子仁
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在高中担任教师的乔什·莱姆波特（帕特里克·威尔森 Patrick Wilson 饰）和身为自由音乐人的妻子兰娜（罗丝·拜恩 Rose Byrne 饰）拥有一个幸福的五口之家。然而自他们乔迁新居之后，恐慌和不安便尾随而至。尚在襁褓中的女儿凯莉经常莫名大哭，次子福斯特（Andrew Astor 饰）对卧室充满恐惧，而长子达尔顿（Ty Simpkins 饰）更在一次惊吓过后陷入长久的昏迷之中。在此之后，各种奇怪恐怖的事件接连发生。莱姆波特夫妇不胜其扰，精神几近崩溃，他们最终决定搬离这个不祥之地。 但是一切并未就此结束，侵扰他们的魔鬼似乎尾随莱姆波特一家来至新的住所，更扬言要占据达尔顿的身体……
