2014年7月にリリースされたフリーゲームで、年轻ニコニコ動画やYouTubeで実況プレイ動画も人気を博している「DEATH FOREST 恐怖の森」を実写化。森に迷い込んだ主人公が、年轻ヨシエと呼ばれる巨大な顔をした謎の存在や異形の者たちに追われる恐怖を描く。東京からほど遠い某県の森でキャンプを楽しんでいた紗季と友人たちは、帰路の途中、近道と思われる薄暗い一本道を通過するが、車が故障してしまい、立ち往生してしまう。そこへ突然、何者かに追われて恐怖に怯えた様子の男が現れ、車の中に逃げ込んでくる。助けを呼ぼうと来た道を戻ろうとした紗季たちだったが、そこに赤い血に染まった不気味な生き物が現れる。
范成玉
回复 :风光秀丽，细腰丰胸，委内瑞拉亚马逊河流域的奥里诺科河上响彻着欢快热情的歌声。美国大使阿诺德·里吉斯与委内瑞拉外交部长瑟吉奥·科多巴正在进行政治磋商，但是好景不长，他们突然遭到食人鱼群的袭击。血雨腥风，无人生还。不久大使遇害的消息传到美国，国务卿鲍勃·格莱迪（贝瑞·威廉姆斯 Barry Williams 饰）立刻派出特种兵杰森·菲奇（保罗·罗根 Paul Logan 饰）前往调查。与此同时，来自洛杉矶的基因学教授莎拉·梦露（Tiffany 饰）与同伴们正在对奥里诺科河里的生物进行检测，他们发现，实验用的食人鱼不知因何种原因逃入河中，而且正以极快的速度生长，体型将变得更加庞大。她希望杰森劝说刚愎的迪亚兹上校封闭河流。然而似乎为时已晚……
拷秋勤
回复 :当一名幼儿园老师——亚米·高塔姆绑架了 16 名小学生并提出一系列要求时，不仅震撼了孟买警察和城市，而且在全国及其政界人士中引起了反响。
鲍比达
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
