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潜伏4:锁命亡灵

导演:
亚当·罗比特尔
主演:
林·沙烨,雷·沃纳尔,安格斯·桑普森,柯克·埃斯沃多,凯特琳·杰拉德,史宾塞·洛克,乔什·斯图沃特,特莎·费勒,阿勒奎·里德,艾娃·寇克尔,皮尔斯·波普,布鲁斯·戴维森,哈维尔·博泰特,马库斯·亨德森,阿曼达·亚罗斯
别名:
未知
0.0
1人评分
英语
语言
2018-01-05
上映时间
未知
片长
简介:
《阴儿房第3章:从灵开始》琳雪伊回归饰演超自然心理学家,由《失魂记忆》导演亚当罗勃提尔执导、《阴儿房》系列原创团队之一的雷沃纳尔执笔剧本、鬼才导演温子仁将担任制片,打造极致惊悚的最新经典。  《阴儿房第4章:锁命亡灵》不仅将带来恐怖加倍的全新故事,制片规模亦更较以往全面升级,导演受访时表示:「开拍前我甚至派特效师至美国费城一座有两百年历史的废弃监狱考察,我相信唯有体验过那种压迫黑暗且气氛极难承受的环境,我们才能真实呈现出囚禁那种最骇人的场景。」  故事讲述,灵媒爱丽丝在一次偶然的案件调查中,却意外将他带回最不愿面对的过往,更被迫面对内心最害怕的秘密,「恐惧是回家唯一的路⋯」。她将被迫「回家」面对内心深处最恐惧的黑暗阴影。  在《阴儿房》系列扮演灵媒的琳雪伊无疑是贯穿电影的灵魂角色,全新作品《阴儿房第4章:锁命亡灵》中将揭露更多关于她的背景叙述,琳雪伊表示:「这次的故事会把很多大家的疑问都解释清楚,例如为何爱丽丝能成为与灵界沟通的角色,以及更多在这种『天赋』下她所承受的苦难与不愿面对的过程,我相信粉丝将会更能同理与对这个角色感到更深的共鸣。」

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简介:This early 70's giallo by Umberto Lenzi is certainly among the best in his filmography and also in the whole genre. Personally I think Lenzi's best films are the funny cartoon-turned-film Kriminal, the stylish giallo Seven Blood-Stained Orchids, the explosive Napoli violenta and this. In the eighties he did plenty of film trash in form of Eaten Alive, Hitcher in the Dark or Black Demons, all of which are ripping something off and/or very dull and slow moving. Knife of Ice came when the giallo boom was at its hottest and the result is convincing.  Technically the film is superb, containing great cinematography in the beginning when we learn about the main character's trauma towards trains. From this point on, Lenzi shows us his ability to benefit the widescreen and, for example, the bicycle ride near the forest is genuinely beautiful! This scene also shows Lenzi's ability to build suspense, very slowly but meaningfully. After all, there aren't so many murders in the whole film, only the suspense circulating around the murderer's identity.  One suspect is a devil worshipper which brings new aspects to the mystery. Since the final scene takes place in a church, one can wonder if Lenzi wanted to comment on something, maybe the hypocritical morale of church and superstition. The main character (Carrol Baker) is mute which demands a lot from her face and eyes. The actress works very well, giving us a believable performance circulating around the emotions of fear and mental pain. The other actors are good, too. The finally, however, may not give too positive a sight about female sex since they all are expressed rather negatively in the film, one way or another. Still this is easily among the most noteworthy in the genre, not as bloody as the Argento films, for example, but equally suspenseful and visually also interesting.
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1972
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