介绍：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.

介绍：塔里克·圣帕特里克决心洗心革面，回到家人身边，并永远退出毒品生意一位新货商的出现扰乱了塔里克的计划，迫使他、布雷登和埃菲重新与特哈达一家做生意。　　布雷登让塔里克在自家的对冲基金公司实习，导致他们的毒品生意从斯坦斯菲尔德扩展到了华尔街。莫奈·特哈达想为长子报仇，管好其他孩子和生意，为此，她不惜付出一切代价；她与戴维斯·麦克莱恩密切合作，意图解决齐克被害一案，也让联邦调查局不再调查她。与此同时，一个令人震惊的爆料让塔里克不得不正视挚友的背叛……

介绍：c·s·刘易斯从坚定的无神论者到不情愿的信徒，这个戏剧性的真实故事始于他动荡的童年在母亲因癌症去世、与父亲渐行渐远之后，年轻的C.S.刘易斯认为生活是暗淡而不幸的。他受无神论者威廉·t·柯克帕特里克的教导，以及他在第一次世界大战中的悲惨经历，巩固了他的唯物主义观点，直到他与J.R.R.托尔金和雨果·戴森成为朋友。他的知识分子同行们——都是基督徒——向他提出挑战，要求他考虑基督教在逻辑学、神话学和文学方面的情况，刘易斯必须面临一个改变人生的选择是坚持唯物主义，还是把生命献给耶稣基督。

介绍：电影一开始，导演胡子杰（张子夫 饰）给女演员李圆满（陈翠梅 饰）讲了一个故事　　“宫本武藏到了很老的时候，有一个年轻人来挑战他。他们约好第二天中午在山上决斗。但是宫本武藏一直到太阳到了西边才出现。年轻人非常生气，宫本武藏背对著阳光，在决斗的关键时刻，故意让年轻人对著刺眼的阳光，一瞬间把他杀了。”　　“这不是胜之不武吗？”　　“对那个年轻人来说，剑就是一切。对年老的宫本武藏来说，一切都是剑。阳光是剑，时间也是剑。”　　圆满看着子杰，“所以？”　　“以前，电影就是一切。到了现在，一切都是电影。如果我们置身事外，在自己的生命里做一个冷静的旁观者，生活就是一场电影。”　　“你不会是找我来拍洪尚秀电影吧？”　　子杰笑着摇头，“我要拍一部动作片。”

介绍：一个独立自强的飞行员努力维系家族生意，但她却爱上了前来永久接管其业务的企业代