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。

根据玛丽·洛夫尔的传记《米特福德女孩》。

第八季讲述来自伦敦警察局的Ruth Calder督察（Ashley Jensen饰）返回家乡设得兰，找回一起黑帮谋杀案的弱势证人。Tosh（Alison O'Donnell饰）必须暂停对一系列神秘动物死亡事件的调查，以帮助Calder在为时已晚之前找到这位证人。

In the upcoming new series everything in Jamma's life is telling him to grow up. But as he tries to get good at love, he’s haunted by family, friends and his former self.

　　Apple TV+续订《海盗佳丽》第二季。

As DI Geordie Keatingand Reverend Alphy Kottaram continue to work together as a crime-solving duo in scenic Grantchester, they must also support each other through changing times, family struggles, and personal secrets. This season, Alphy feels like he’s found a home, but he’s forced to confront secrets he’s kept close to his chest. Will he be able to let anyone fully in, or mu...

改编自Parnell Hall的畅销小说系列“The Puzzle Lady Mysteries”。

Endangered Planet will use cutting-edge technology to uncover insights into protecting precious species including the Gobi bear, Malayan tiger, Javan rhino, Caucasian leopard, Cross River gorilla and the North Atlantic right whale.

热爱艺术的警探米克·帕尔默和直言不讳的警探莎齐娅·马利克一起侦破了与艺术和古董世界有关的谋杀案，从古老的大师画作到班克斯街头艺术、中世纪手稿和收藏级黑胶唱片。