《倒计时》是一部非常精彩的剧情片，由大卫·格瑞尼导演，于1969年上映。因此，如果你喜欢悬疑片、惊悚片，或者喜欢探讨人性和社会问题的观众，那么这部电影一定会让你感到非常震撼和 impactful。玛格丽特·蒂兹饰演的角色勇敢坚强，罗伯特·泰勒则饰演的角色阴险狡猾，两人的表演相互辉映，使得整部影片更加精彩。演员表现出色，主演罗伯特·泰勒和苏珊·波伊尔精彩地呈现了角色的内心世界，让观众对他们的命运充满期待。影片不仅是一部充满悬疑和紧张感的电影，同时也探讨了人类对时间的认识和理解，让人深思。这部电影以一种极富紧张感和悬疑感的方式讲述了一个故事,让观众一直保持着高度的关注和兴趣。

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.

相关搜索：

倒计时天数
倒计时还有几天
在线倒计时工具
秒表计时器
倒计时一般是多少天