6.0 英语 · 1973 · 英国,意大利 · 剧情片
亚历克·吉尼斯,西蒙·沃德,阿道弗·切利,黛安妮·赛琳托,加布里埃尔·费泽蒂,埃里克·波特,多丽丝·昆斯特曼,乔斯·雅克兰德,约翰·巴伦,约翰·贝内特,希拉·吉什,朱利安·格洛弗,迈克尔·古德利菲,John Hallam,芭芭拉·杰夫德,Mark Kingston,菲丽达·劳,安·林恩
影片基于“希特勒最后的日子”一书改编，电影主要从1945年4月20日，希特勒的56岁生日开始，到1945年4月30 日希特勒自杀，这十天中展示了希特勒及其追随者在地堡的最后未日。虽然同样是描写希特勒的最后日子，但与1955年的拍摄的同名影片及后来2005年拍摄的《帝国的毁灭》中，表现出的是一个略有不同的画面...影片的风格也很独特，你会发现，“地上”的事情是在黑色和白色，而“地下”一切是彩色的。
10.0 英语 · 1984 · 英国 · 科幻片
费·唐纳薇,海伦·斯雷特,彼得·奥图尔,米娅·法罗,布伦达·瓦卡罗,彼得·库克,西蒙·沃德,马克·麦克卢尔,哈特·巴克纳,莫伦·蒂菲,大卫·希里,桑德拉·迪金森,Robyn Mandell,Jenifer Landor,Diana Ricardo,马特·弗里沃,Martha Parsey,Saskia van Basten-Batenburg,凯莉·亨特,Christian J. Fletcher
为了寻找失落于地球的量天仪宝珠，太空城族长扎尔塔（彼德·奥图 Peter O'Toole 饰）派遣女超人卡拉（海伦·斯雷特 Helen Slater 饰）前往地球。此时的宝珠落到了邪恶的女巫赛琳娜（费·唐纳薇 Faye Dunaway 饰）的手中，为了炫耀这价值连城的宝 物，赛琳娜举办了一场晚会，而这就是卡拉夺回宝物的最佳时机。卡拉的举动惹恼了赛琳娜，她设计将卡拉骗至恐怖城，夺走了她的力量与自由。 得知卡拉遇险，扎尔塔前来营救，却不想命丧赛琳娜之手。悲愤的卡拉想方设法逃脱了赛琳娜的桎梏，为了给死去的扎尔塔报仇，为了夺回珠宝，为了维护世界的和平，卡拉做好了准备，要与赛琳娜展殊死搏斗。
8.0 英语 · 1973 · 美国 · 动作片
理查德·张伯伦,麦克尔·约克,奥列佛·里德,拉蔻儿·薇芝,弗兰克·芬莱,克里斯托弗·李,杰拉丁·卓别林,让-皮埃尔·卡塞尔,斯派克·米利甘,罗伊·金尼尔,乔治·威尔森,西蒙·沃德,费·唐纳薇,查尔顿·赫斯顿,乔斯·雅克兰德
故事发生在17世纪的法国，红衣教主黎塞留（查尔登·海斯顿 Charlton Heston 饰）想要谋权篡位，设下重重阴谋诡计。达达尼昂（麦克尔·约克 Michael York 饰）一心想要报效祖国，于是远赴巴黎想要加入火枪队。在此过程中，达达尼昂结识了阿多斯（奥列佛·里德 Oliver Reed 饰）、波尔多斯（弗兰克·芬莱 Frank Finlay 饰）和阿拉密斯（理查德·查伯兰 Richard Chamberlain 饰），四人不打不相识，成为莫逆之交。 一次偶然中，达达尼昂得知了黎塞留的阴谋，为了斩草除根，黎塞留设计令达达尼昂被判处了死刑，所幸得到了三名火枪手的救助，达达尼昂才捡回了小命。之后，四人将国王从刺客的枪口之下救出，并向绑架了国王和王后的黎塞留宣战。
10.0 英语 · 1992 · 英国,美国 · 剧情片
朱丽叶·比诺什,拉尔夫·费因斯,珍妮·麦克蒂尔,索菲娅·沃德,西蒙·谢泼德,杰瑞米·诺森,杰森·雷丁顿,西蒙·沃德,迪克·沙利文,罗伯特·德默格,保罗·杰弗里,约翰·伍德温,珍妮弗·丹尼尔,詹妮伍德,乔纳森·费尔斯,乔恩·霍华德,杰西卡·亨内尔,史蒂文·斯拉克,崔佛·库珀,鲁珀特·霍利迪-埃文斯
阴云密布的旷野荒原，一位身披斗篷的孤独女人行走其间。她缓缓地讲述着一个关于爱与复仇的故事。19世纪，英国约克郡。呼啸山庄的主人恩萧先生带回了一个男孩，并取名为希斯克利夫。几年后，希斯克利夫（拉尔夫·费因斯 Ralph Fiennes饰）便长成了一位英俊少年。恩萧的女儿凯瑟琳（朱丽叶·比诺什 Juliette Binoche饰）一下子就迷上了这个沉默寡言、我行我素的男孩。然而恩萧先生对希斯克利夫的宠爱，却让恩萧的儿子亨德雷（杰瑞米·诺森 Jeremy Northam饰）异常嫉妒。一次意外，让凯瑟琳邂逅了贵族埃德加·林顿（西蒙·谢普德 Simon Shepherd饰）。面对粗俗的希斯克利夫和优雅的林顿家人，凯瑟琳还是嫁给了埃德加。希斯克利夫一怒之下愤然离去。几年后，衣锦还乡的希斯克利夫展开了疯狂地复仇。 本片改编自英国女作家勃朗特姐妹之一艾米莉·勃朗特的...
9.0 英语 · 1969 · 英国 · 剧情片
珍妮·艾加特,布莱恩·马歇尔,Clare Sutcliffe,西蒙·沃德
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.