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.

一系列可怕的谋杀案被追溯到居住在一座非常奇怪的房子里的一个生物《危楼艳影》（The Shuttered Room）是一部于1967年上映的恐怖电影，由大卫·格瑞尼执导，August Derleth编剧。故事发生在一个偏僻的农村小镇上的一座废弃农舍。主人公迈克尔（吉格·杨饰）和苏珊（卡洛尔·琳蕾饰）是一对夫妻，他们来到这个小镇，打算将农舍修复成一个小旅馆。然而，他们不久就发现了农舍里的一个密封房间，房间被锁上并一直保持关闭状态。随着故事的发展，迈克尔和苏珊开始经历一系列怪异和恐怖的事件。他们逐渐发现这个密封房间与一个可怕的家族秘密有关，而这个家族的阴影一直笼罩着整个小镇。迈克尔和苏珊必须揭开真相，同时对抗那些企图保护家族秘密的恶势力。《危楼艳影》以其紧张的氛围和惊悚的情节吸引了恐怖电影爱好者的关注。吉格·杨、卡洛尔·琳蕾、奥列佛·里德和弗劳拉·罗博森等主演的精彩表演增添了电影的紧张和恐怖氛围。该片通过悬疑和恐怖元素展示了家族秘密的恐怖和可怕之处。它揭示了家族阴影和过去的诡异事件如何影响到现代世界。《危楼艳影》将观众带入一个充满神秘和不可思议的世界，让他们体验到恐惧和紧张的刺激。如果你喜欢复古的恐怖电影，并对家族秘密和心理恐怖感兴趣，那么《危楼艳影》将是一部值得一看的电影。它将带你进入一个扣人心弦的故事，揭示出隐藏在废弃农舍中的恐怖真相。