剧情简介
影片讲述了民国时期，免费川剧道具师陆墨山因在剧组替副导演背黑锅而入狱，免费出狱后乔装改扮，化名“孟上海”来到女儿的学校当道具师，原本只想默默的守护女儿，不曾想，女儿被学校里的其他几名学生联手害死，并且诬陷是陆墨山做的，再次出狱的陆墨山，恢复了“陆墨山”这个身份再次来到女儿曾经的 学校，对凶手们展开了报复。
免费电影一区
影片讲述了民国时期，免费川剧道具师陆墨山因在剧组替副导演背黑锅而入狱，免费出狱后乔装改扮，化名“孟上海”来到女儿的学校当道具师，原本只想默默的守护女儿，不曾想，女儿被学校里的其他几名学生联手害死，并且诬陷是陆墨山做的，再次出狱的陆墨山，恢复了“陆墨山”这个身份再次来到女儿曾经的 学校，对凶手们展开了报复。
回复 :渡假胜地阿米堤海滩曾多次有人被大白鲨侵袭，警长夫人艾伦对此心有余aaa。多年后，其子西恩接替警长职位，他在一次出海巡逻中神秘失踪，显然是受到了大白鲨的侵袭，在艾伦悲痛之时，神秘的航海冒险家出现在她身边，于是他们一起联手对付大白鲨。
回复 :吴亚秋（吴耀汉 饰）和贝多芬（岑建勋 饰）是香港警署反黑组一对活宝警员，这对师兄弟吊儿郎当，不务正业，入行十多年还是初级警员。好在他们生性乐观，加上陈sir（陈欣建 饰）对二人多有照顾，因此他们倒也十分享受这样的逍遥生活。所谓傻人有傻福，亚秋阴差阳错还得到陈sir的女秘书安娜﹝叶德娴 饰﹞的垂青。他们受命调查从事不法勾当而暴富的商人夏正毅（陈龙 饰），只是对方分外狡猾，不露出任何马脚。夏的情妇掌握他各种犯罪勾当的账本，并以此作要挟。夏命手下杀害情妇，而亚秋和贝多芬则成为了尸体的最先发现者。夏正毅为了得到账本，于是向情妇的表妹伸出毒手，亚秋和贝多芬能否将罪犯绳之于法？
张菲
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