剧情简介
刑事案件的审判有罪率99.9%——在绝对不可能反转的状况中，阴守拘泥被留下的0.1%的可能性追求事实！阴守在日本如果被起诉，99.9%会被判有罪！但是古怪的深山大翔认为只要找出真相，纵使清白机率只有0.1%就有逆转翻案的可能.
阴守忍者
刑事案件的审判有罪率99.9%——在绝对不可能反转的状况中，阴守拘泥被留下的0.1%的可能性追求事实！阴守在日本如果被起诉，99.9%会被判有罪！但是古怪的深山大翔认为只要找出真相，纵使清白机率只有0.1%就有逆转翻案的可能.
回复 :繁华之夜，名叫陈萌（焦婷 饰）的妙龄女子在某小区坠楼身亡，其死因不明，案发现场更是疑点重重。不久，内容不同却承载着相同不祥气息的请柬，将公司老总李景文（张达明 饰）及其妻子胡静（郝文婷 饰）、地产公司销售顾问林夕（胡桑 饰）、游戏玩家谢雷（李悦铭 饰）等6个有着不同身份的人召集到了位于郊区的某个会所中。通过简短的交流，这些人很快发现，他们唯一的共同点便是都认识不久前死去的陈萌。谢雷是被陈萌抛弃的男友，李景文是陈萌的外遇对象，林夕则是陈萌的闺蜜。似乎有个神秘之人将他们召集在一起，试图弄清那个女孩死去的真相……本片号称根据日本惊悚推理小说《温泉旅馆》改编。
周云蓬
回复 :60年代的香港，风云变幻。一面要忍受港英政府的压制，一面又受到内地运动的波及，更要面对不时登陆的台风暴雨。老字号的永利街就处在这样一个风暴的旋涡中心。鞋匠罗一家四口，在街尾以做鞋为生。罗先生（任达华 饰）做得一手好鞋，在那个混乱的年代仅能养家糊口；罗太太（吴君如 饰）为人辛辣直率，人称“侠盗罗嫂”。大儿子罗进一（李治廷 饰）16岁，品学兼优，是运动会的冠军，全家人的希望，也是永利街的骄傲；小儿子罗进二（钟绍图 饰）8岁，在父母溺爱之下，天性顽劣，出了名的顽皮整蛊……一家人艰难度日，也算其乐融融。然而大儿子与富家小姐芳菲（蔡颖恩 饰）之间一段纯美的初恋、一场扫荡整个香港的飓风暴雨、更有一场潜伏已久的噩梦，让这个普通家庭的平安幸福在一夜之间陡生变故、支离破碎……面对岁月这个最大的“神偷”，顽强不屈的人该如何去抵抗？2010第60届柏林电影节“新生代单元”最佳影片水晶熊奖，第29届香港电影金像奖最佳编剧、最佳男主角、最佳新演员、最佳原创电影歌曲4项大奖。
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
