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. 

In London, the pregnant wife of an industrialist falls down the stairs, loses her sight and has no recollection of the events but suspects that a mentally traumatic experience prior to the fall caused her accident.
Psyche 59 is a 1964 British drama film directed by Alexander Singer and written by Julian Halevy. It is based on the 1963 novel Psyche ཷ by Françoise des Ligneris. The film stars Patricia Neal, Curd Jürgens, Samantha Eggar, Ian Bannen, Beatrix Lehmann and Elspeth March. The film was released on 29 April 1964, by Columbia Pictures.

　　索尼娅（芮妮·齐薇格Renée Zellweger 饰）是一个性格十分开朗，脑袋里装满了古灵精怪的念头的女孩。命运将她和名为门德尔（格伦·菲茨杰拉德 Glenn Fitzgerald 饰）的男人联系到了一起，两人一见钟情，很快携手步入婚姻的殿堂。门德尔是犹太教虔诚的教徒，生活中的一切事物皆遵循上帝的旨意。很快，索尼娅就发现，门德尔需要的只是一个人们传统观念中的“妻子”，而不是她这个有血有肉的人。
　　随着时间的推移，索尼娅和门德尔之间的距离越来越远，而一位名为雷蒙（艾伦·佩恩 Allen Payne 饰）的首饰店店员走近了索尼娅的身边，两人不可避免的坠入了爱河。

英俊帅气、年轻有为的泰德•格雷（Milo Ventimiglia 米洛•文堤米利亚 饰）事业爱情双得意，他以优异的成绩从哈佛医学院毕业，随后被推荐进入全国最有名的病理学研究小组；另一方面，泰德和女友格雯（Alyssa Milano 阿莱萨•米兰诺 饰）感情顺利，令人欣羡。凭借出众的才干与丰富的学识，泰德很快便在这人才辈出的研究小组中崭露头角，受到同侪的赏识与器重。但他很快便发现，这个小组的工作人员似乎隐藏着不为人知的秘密。原来，这些衣冠楚楚研究人员竟然暗中进行一连串的杀人事件，他们为了创造出完美的杀人纪录而疯狂竞赛。泰德同时发现，自己也在其中越陷越深。是逃脱，还是同流合污，他面临着痛苦而危险的选择……©豆瓣

　　遗世独立的宁静小村，没了丈夫的女人、儿子失踪的老妇、等待父亲的女儿，逃过战火摧残的她们，将哀伤做成一瓶瓶甜美的果酱，等待希望，等待亲人能奇迹生还。土地开发商人来访，想说服她们卖地换钱，放弃残破的家园。去或留？等待逝者或是另觅新生？大雪降临之前，她们的未来究竟在哪？波士尼亚女导演一鸣惊人首作，温柔细腻真挚动人，拿下坎城国际影评人周最佳影片。

一次不幸的经历让心理医生珍（卡里斯·范·侯登 Carice van Houten 饰）陷入了痛苦的境地无法自拔，为了摆脱熟悉的环境的悲伤的回忆，珍自告奋勇的接下了女孩桃乐丝（詹·穆瑞 Jenn Murray 饰）的案子，在这件耸人听闻的案件中，年仅15岁的桃乐丝竟是被告，她被控告意图谋杀她所看护的婴儿。桃乐丝住在位于爱尔兰附近的偏僻小岛上，刚到岛上，敏感的珍便察觉到这里弥漫着压抑而诡异的气氛。珍见到了桃乐丝，却发现这个女孩的言行举止完全颠覆了她积累多年的职业经验，难道事实真的如同岛上牧师所说——桃乐丝的身体里住着恶魔？随着调查的深入，令人震惊的真相逐渐浮出了水面。©豆瓣

诺贝尔奖得主Jose Saramago的小说《Blindness》将被搬上电影舞台。书中描述了一个陷入致盲病毒的城市，导火线从一名司机点燃，突然失明后，他得到了一个人的善意帮助，这条线继续燃烧下去，眼科医生也来帮助他们了，故事就这样开始了。所有的致盲者都被关进了一座废弃的精神病院，重兵把守，不惜生命的代价也要制止疾病的扩散。 Julianne Moore将扮演唯一没有失明的人——医生的善良妻子， 著名黑人电影人Danny Glover在片中扮演一名致盲的黑人老者。尽管主角来自美国，但这部电影是由日本、巴西、加拿大合拍的国际性电影。©豆瓣

　　中学生西蒙（Devon Bostick 饰）的父母在一次车祸中身亡，这些年一直同舅舅汤姆生活，在外公生命中最后的日子里，西蒙用影像记录下外公的回忆，拼贴出渐渐模糊的父母形象……西蒙的老师萨宾（Arsinée Khanjian 饰）布置下一篇翻译作业，内容是叙述者对父母卷入一次恐怖袭击的回忆，西蒙在完成作业的过程中与叙述者融为一体，使同学们误认他在当众讲述自己的私事，萨宾要求西蒙继续创作，同学们在网络视频中的互动讨论颇为热烈，一些教师和家长甚至陌生人也参与其中，纷纷对这位“恐怖份子”的儿子表达了看法。靠拖车为生的汤姆偶遇萨宾，一番接触之下，汤姆发现对方居然是死去姐夫的前妻，而汤姆的一段不愿揭开的心灵负担也被萨宾盘问了出来……
　　本片获2008年东京电影节评审团票选最佳加拿大电影。

　　Charles Murdock neglects his fat and lazy wife in favor of Juliet Raeburn but, when Juliet's name is involved in murder, he marries Viola and takes her to Paris.

　　Straight Shooting is landmark in the history of the Western. The first feature directed by Ford, it revived the career of Harry Carey who gives a rough and tumble performance here as a hired gun who turns on his employers to defend an innocent farmer and his family.

　　From Joseph Conrad's great novel comes the story of a young seaman trying to helm a damaged boat to Singapore and dealing with many unfortunate events. While on command of the situation, he also devotes himself to help his failing crew and some of the boat's many passengers, some of them who are in poor health conditions.

　　丈夫的突然离去让罗贝塔（梅丽尔·斯特里普 Meryl Streep 饰）陷入了深深的痛苦之中，和大多数的主妇一样，罗贝塔的整个世界就是丈夫和家庭，如今这两样东西都已经崩塌碎裂，这让年纪已经不小的罗贝塔该如何自处？
　　悲伤归悲伤，可是日子还是要过下去，带着两个孩子，罗贝塔将家搬到了纽约东哈林区，在那里，罗贝塔重新振作开始了小提琴教师的全新生活。罗贝塔深信，艺术能够陶冶人的情操，即使是从未经受过艺术熏陶的孩子，也一定会对优美的小提琴声产生共鸣。可是罗贝塔所任教的学校的领导却不这么认为，他们不断缩减着罗贝塔的教育经费，但这并没能动摇罗贝塔的决心。

　　主人翁是青少年时期与父亲失和而无法完成梦想的农场主人雷，有一天他听到神秘声音说：“你盖好了，他就会来。”于是他像着了魔一样铲平了自己的玉米田建造了一座棒球场，没想到他的棒球偶像真的来到那里打球，而且还因此而使他跟父亲之间好多年心结得以开解。

　　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……

　　丹泽尔·华盛顿（Denzel Washington）在片中饰演一位机智、温和、善良、勇敢的南非黑人民权解放运动领袖——斯蒂芬·毕柯（Steven Biko）,于1977年在狱中遭保安警察杀害,凯文·克莱（Kevin Kline）演他的白人记者朋友唐纳德·伍兹（Donald Woods）,他冒着生命危险,带着全家人设法逃离祖国南非,好将毕柯这位自由斗士的事迹昭告世人。丹泽尔·华盛顿因本片获当年奥斯卡最佳男配角奖提名。

　　乔安（西尔维娅·西德尼 Sylvia Sidney 饰）在公共治安防卫队工作，这也就意味着，她平日里打交道的，都是一些非常危险的犯罪分子。好巧不巧的是，乔安竟然爱上了其中的一个，那是一个名叫艾迪（亨利·方达 Henry Fonda 饰）的男人。
　　高大英俊的艾迪给予了乔安一种错觉，那就是他本质上其实是一个好人，只不过一时走火入魔才走上了犯罪的道路。乔安坚信通过自己的努力，能够使艾迪改邪归正重返社会。在乔安的帮助之下，艾迪通过良好的表现获得了减刑，并且最终刑满出狱，之后乔安和艾迪携手步入了婚姻的殿堂。然而，一个人的本性真的能够如此轻易的被改变吗？

　　这是一部现代风格的戏剧，介绍了生于维也纳，在剑桥读书的哲学家Ludwig Wittgenstein (1889-1951)的生平及思想。他的主要兴趣在于研究语言的本质与极限。
　　电影使用最简单的黑色背景，所有的投资都用在服装、演员以及灯光上，构图就像黑暗的启蒙主义绘画。Wittgenstein以一个小男孩的形象出现，他的少年时代很压抑，银幕上他的家人都身穿罗马人的宽外袍。一系列的小场景描述了他从小时候，到第一次世界大战，再到最终在剑桥当教授和Bertrand Russell以及John Maynard Keynes合作的生平。导演Derek Jarman使用了一些戏剧小品，还有富于想象力的小花招，比如出现了火星侏儒，来表现Wittgenstein的贵族举止，犹太背景，以及同性恋倾向。

　　After a life of little scams, a self-centered millennial is sentenced to take care of his grandmother, who is affected by Alzheimer's. As he realizes the extent of her wealth, the protagonist gets closer to the treasure he's been looking for.

　　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……

　　在十九世纪的美国与墨西哥战役中，陆军上尉约翰鲍尔因为表现懦弱，被军方派往荒芜的内华达山脉前哨基地驻守，与一群乌合之众的劣等士兵过着无聊透顶的生活。后来一名苏格兰男子艾维斯闯入了军营，他交代自己本来与一队人同往此地，但在途中遇大风雪，众人躲到山洞中栖身。在饥寒交逼下，他们竟互相残杀吃起人肉来，只有艾维斯逃出这个疯狂的山洞。鲍尔上尉闻讯后带队到山洞查察，不料艾维斯竟然是食人魔。本片的故事看来像是低劣的血腥恐怖片，其实拍得相当严肃，对战争与生存的主题有发人深省的探讨。导演安东尼亚贝特的快节奏处理毫不拖泥带水，后段更拍出了黑色喜剧感。两名主角盖皮尔斯和劳勃卡莱尔都演出特色。