Cl
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Michelle MacLaren
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第四季开始，艾美奖得主Uzo Aduba饰演新主角，治疗专家Brooke Taylor医生。她将在诊疗中面对多元化的三位病人，与此同时也在与自己的问题作斗争。 Joel Kinnaman将饰演Adam。他是主角医生Brooke时分时合的男友，现在再次出现，让Brooke的生活变得更加复杂。 Anthony Ramos饰演Eladio，病人之一。他是一个有钱人家里成年儿子的家庭护理。 Liza Colón-Zayas饰演Rita。她是Brooke结交已久的知心朋友，给了Brooke很多支持。但Rita在经历了一场改变人生的损失后，也在抗争着自己的心魔。 John Benjamin Hickey饰演Colin。原本是魅力十足的富豪，后来成了一名白领罪犯，最近刚出狱的他需要面对自己生活中方方面面的变化。 Quintessa Swindell饰演Laila。Brooke的客户之一，多疑又叛逆的一名青少年，竭力想要在家人的殷切期盼中找到属于自己的身份。
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保罗·沃克,卡尔·蒂贝茨,Thora Hilmarsdottir,Ed Lilly
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Neve Kelly is dead. She is stuck in limbo and must find out who killed her. This adaptation of the mystery series Beau Séjour impresses on account of its young cast and the breath-taking landscapes of England’s Lake District.
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Philip John,Fiona Walton
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Alibi和PBS Masterpiece联合制作6集罪案剧《安妮卡 Annika》，改编自BBC Radio 4非常成功的广播剧《Annika Stranded》，由Nick Walker创作。 Nicola Walker饰演主角Annika Strandhed，一名敏锐、机智又神秘的督察。剧集讲述Annika领导一支新组建的海上凶案专家组，负责调查发生在苏格兰航道上原因不明、残忍恶劣，看上去难以解释的谋杀案。Annika管理着自己才华横溢但不走寻常路的团队，面对着同样聪慧但心思复杂的青少年女儿，在此过程中，她通过打破第四面墙的形式，让观众成为她的密友，分享她对案件和生活的带着讽刺意味的观察。
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埃里克·里希特·斯特兰德
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《王冠 The Crown》制片公司Left Bank Pictures为Netflix制作另一部新剧《她的双眼背后 Behind Her Eyes》，这部剧集改编自Sarah Pinborough的同名惊悚小说，6集改编剧现已开机拍摄拍摄。 《她的双眼背后》女主角Louise是位单亲母亲兼秘书，某夜她在酒吧认识并亲吻了名年轻的男子David，但后来Louise发现对方竟是自己的新上司；同时间Louise在镇上结交了新朋友Adele，不过女主接下来才知道她是David的妻子。Louise痴迷并陷入于这对夫妇的关系中时，女主却逐渐认为他们有着很多不对劲的地方，表里不一的David及Adele可能隐藏着可怕的秘密。 Simona Brown饰演Louise﹑Tom Bateman饰演心理医生David﹑Eve Hewson饰演Adele。
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彼得·杰克逊
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魔幻战争逐渐进入高潮阶段。霍比特人佛罗多（伊利亚·伍德 Elijah Wood 饰）携带着魔戒，与伙伴山姆（西恩·奥斯汀 Sean Astin 饰）以及狡猾阴暗的咕噜等前往末日山，一路上艰难险阻不断，魔君索伦为阻止魔戒被销毁用尽全力阻挠。另一方面，白袍巫师甘道夫（伊恩·麦克莱恩 Ian McKellen 饰）率中土勇士们镇守刚铎首都——白城米那斯提里斯。魔兽大军压境，黑暗与光明的决战即将来临…… 本片是“指环王三部曲”的终结篇，根据英国作家J.R.R.托尔金（J.R.R. Tolkien）同名魔幻巨著《指环王》（The Lord of the Rings）改编，并荣获2004年第76届奥斯卡最佳影片、最佳导演、最佳改编剧本、最佳剪辑、最佳艺术指导、最佳服装设计、最佳化妆、最佳视觉效果、最佳音效、最佳配乐和最佳歌曲等11项大奖。
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吉吉·索尔·格雷罗
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In the Barrio of Oak Springs, live a strong and stubborn group of elderly friends who refuse to be gentrified. Their leader, Lupita, keeps them together as a community, a family. But little did they know, their beloved Bingo hall is about to be sold to a much more powerful force than money itself.
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Joaquín Luis Romero Marchent
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A wagon load of convicts on their way to prison is being escorted through the mountains by a cavalry troop. They are attacked by a bandit gang, and only a sergeant, his beautiful young daughter and an assortment of seven sadistic, murderous prisoners survive, and they are left without horses or a wagon. The sergeant must find a way to get his prisoners to their destination while protecting his daughter, watching out for the still pursuing bandits and trying to determine which one of the prisoners was the man who raped and murdered his wife.
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大卫·格瑞尼
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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
