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. 

Apple TV+续订《海盗佳丽》第二季。

The Fear movie is a psychological suspense thriller based on true events. The movie delivers a valuable concept to the public. The movie caters to a wide range of audiences, particularly those who enjoy thrillers and screenplays. The Fear is a purely screenplay-based movie that runs between three layers.

　　当身体疾病导致两颗心相遇。讲述了一个年轻人和他的治疗师的故事，他们治愈了彼此的痛苦，并转化为爱。　　When a physical illness leads the two hearts to meet. Follows the story of a young man and his therapist, who heals each other pain and turn into love.

ComingfromruralThailand,MonmovestoBangkoktostartuniversity.Onhisfirstdayinthebigcity,hemeetsSow,alocalmusician,whoshowshimaround.Duringadrunknight,SowkissesMon.Mon,confused,leaves.However,MonquicklyfindsoutSowisalsoafreshmaninhissamefaculty!SowlearnsofMon’sloveforbasketballanddecidestojointhesameteamwithhim.Inoneofthematches,MongetsinjuredandSowstartstakingcareofhim.Saint,Mon’shighschoolteammate,confesseshisloveforhimtoo.Intheend,whichteamwillMonchoose?SoworSaint?

“我想念每一个人。我们能在那个岛上再见面吗？”一条来自五年前自杀的学校明星“林珈安”的神秘信息被发送给了她以前的高中同学、学长和姐姐。每个人都想知道这个消息是如何发出的，因为林珈安很久以前就去世了。他们12个人回到了荒岛，也就是林珈安五年前去世的地方…向林珈安致敬，并找出是谁把这个消息当成笑话的真相。但越接近真相，他们就越能发现自己残酷的过去。他们称之为“朋友”的人的黑暗秘密使这个荒岛变成了一个血腥的竞技场…

Paitoon Butsayaban有一名妻子，名叫Kannika，他俩还有一名女儿Thantawan。另外Paitoon也有一名名叫Ornapa情妇，两人也拥有女儿Ornsalao。Paitoon过世后，Kannika赶走了Ornapa和Ornsalao。这对母女没有得到遗产，也只能过着艰难的生活。两个母亲拼命要向对方报复，甚至利用自己女儿。

没有人意料到，这位来自美国的女商人“凯特”，会成为复仇星火，让造成“帕”死亡的幕后凶手“Akarapisansakul家族”彻底葬身复仇火海。

根据玛丽·洛夫尔的传记《米特福德女孩》。

年轻漂亮的玛雅（迪帕•萨伊饰）对生活充满幻想和欲望。一天，她的父亲摔下楼梯弄伤了腿。一个年轻的乡村医生（法路克•谢赫饰）来医治。温柔的爱之花在绅士的医生和玛雅之间绽放，他们结婚了。