London, 20 February 2018: Filming begins this month on the highly-anticipated third series of ITV and Mainstreet Pictures’ compelling crime drama, Unforgotten.Created and written by screenwriter Chris Lang (The Tunnel, A Mother’s Son, Dark Heart), the new six-part series sees the return of BAFTA nominee Nicola Walker (Last Tango In Halifax) and Sanjeev Bhaskar (Goodness Gracious Me) as DCI Cassie Stuart and DI Sunil ‘Sunny’ Khan as they investigate another emotionally-charged cold case.The pair will be joined for the series by acclaimed actors Alex Jennings (Victoria, The Crown) Kevin R McNally (Pirates Of The Caribbean, Designated Survivor), Neil Morrissey (Line Of Duty, The Good Karma Hospital) and James Fleet (Indian Summers, The Vicar Of Dibley) who play a close-knit group of old school friends that have stood by one another through thick and thin.However, when the body of a teenage girl who went missing at the turn of the millenium is found at a building site off the M1 motorway, the four men are placed under the spotlight and their relationships are tested to the limit.Executive Producers and Managing Directors of Mainstreet Pictures Sally Haynes and Laura Mackie said, “We are delighted to once again welcome such a fantastic cast of hugely talented actors to join Nicola and Sanjeev for the third series of Unforgotten. Chris Lang’s complex and intricate scripts get better and better each year, and the new story is no exception. We also delve deeper into Sunny and Cassie’s own personal lives this series, experiencing the effects that the cases have on their own relationships and wellbeing.”Set across the south of England in locations including Norfolk, West Sussex, Bristol, Hampshire and London, the new series will explore how everyday lives can be fractured and destroyed by one event, showing that appearances can often be deceiving.Hailed the “best detective drama of the decade” by the Daily Telegraph and “crime drama of the highest class” by The Guardian, the first two series proved hugely successful with viewers and critics alike, with the last series receiving an average consolidated viewing figure of over 6million with a 21% share.The series has been commissioned by ITV’s Head Of Drama, Polly Hill, with Mainstreet Pictures’ Sally Haynes (Bleak House) and Laura Mackie (State Of Play) as Executive Producers, along with creator Chris Lang. Andy Wilson (Endeavour) returns to direct, whilst Guy de Glanville (Age Before Beauty) is producing the series. The series will be distributed internationally by BBC Worldwide.
还是蛮好玩的，各种对这个系列和经典恐怖电影的自嘲，用戏中戏对第一部经典场景的致敬，人物网络的构造也十分有趣，老三人组的回归虽然感觉是炒冷饭但也很欣喜，结局的“for wes“也是最大程度感谢这位恐怖大师了吧，尽管还有蛮多常规的套路和杜威死时的降智操作，但在我看来真正意义的续集不再是回到过去，新老交替的预示则是告白过去，或许这个系列真正的完结就在这里了吧。“这一次，真正的赢家将是粉丝们”
我不理解爸爸这种赌马赌到倾家荡产的人设为什么可以洗得好像这一切都不是他的错一样。女主看似正义地怼天怼地，其实选择的方法既无能又无脑。推土机的意象到底是什么，奋起的勇气？求求了
love letters to horror movie fans
女主拥有果敢，坚强的性格，不惧困难，的令人佩服的精神。
记得有句话说的很好：那些表面上看起来酷酷的、有纹身、形似不良的女孩，往往都是内心最善良最柔软的。她们只是受够了被欺负，才故意把自己打扮成很「厉害」的样子。这便是她们的「壳」，更她们自己给自己的「安全感」。对于短评里嘲笑慧英脑子不好的，我只想说，如果让那个年纪的你去经历她所经历的一切（自幼丧母，父亲脑死亡，一个人带着年幼的弟弟，叫天不应叫地不灵），你不见得会有她一半的坚强。
粉丝向的深情制作，以及对于「重续」概念提出都是一种近于「电影论文」式的阐述，剧情上的回归首部，以及对于恐怖「元电影」的讨论在当下恐怖类型片中也显得诚意满满，当然成长于20世纪末恐怖片潮流中的影迷们已经错过了真正的黄金时代。
建议别看这部了，可以看看《鬼书》，《它在身后》，《女巫》，《遗传厄运》这些电影。
我可以说我永远爱简·奥斯丁，是她让我对爱情充满了幻想，是她拔高了我的择偶标准。
心情不好，莫名感到很焦躁，感觉音频一直没空过。和电影无关，和自己的生活有关。
不公平、不幸的世界，有人更有权，有人更有钱，有人说谎，有人动粗，有人活着，有人死去。
想打两星半，Wentworth太像麦叔了，还不如找麦叔来个中年版；其余都没法评价
从70年代到现在，Slasher Film这个类型基本上走到头了。各种点子桥段能用的都已经用的差不多了。现在的新作少有佳作，各种续作不是卖情怀就是搞自我解构，或者彻底摆烂。《惊声尖叫》系列就更难了，就像片子里说的：我们也没有迈克·迈尔斯这样的不死角色每集都拿出来做反派啊！！！
3.5/5，如同電影所言，本系列續集全都是狗尾續貂的作品，若單看本電影仍然重複著舊有模式，但當將電影結合第一集來看實為戲謔砍殺電影類型，不遺餘力地揶揄了砍殺電影盲目謹守套路，透過戲中戲與電影的互動，對嘲笑恐怖片『一無是處』、『不斷預測結局』的觀眾作出超乎大膽的嘲諷，然而更關鍵是片末兇手對正派反派的描述，嘗試以正派借代砍殺片、反派借代心理恐怖片，反派大大壓榨傳統正派的生存空間，絲毫不見血漿讓砍殺片的觀眾頗為失望，本片則正正回歸砍殺片的傳統。電影描繪的小鎮眾生相頗為統一，年輕人對砍殺片持嘲笑態度，聲稱自己就是兇手、要其他人提防自己；打算『自救』，與所有人保持距離、隨時帶備武器，可見電影有積極回應年輕人的心態，打破作品予人老氣橫秋的年代感，並非傳統意義上的驚慄片。
好气哦，不好看呀！另外《惊声尖笑》对我影响太大了，一看这个面具就想笑～
所谓新素材就是稀烂的剧情、更多的血腥和暴力
要不要这么小气…好歹隔壁小电锯还舍得用血浆..
7/26纽约亚洲电影节#2。中规中矩，经典韩国题材，导演发挥也不错但没什么特别多闪光点。现场见到了女主真的好看哈哈哈哈
男主好丑🥲如果没有简奥斯汀的加持这就是一个再普通不过的玛丽苏言情
后面剧情转的些许生硬，甚至有些荒诞离奇，但是有些台词还是很奥斯汀的
拖拉机这个巨物在真实的场地中施作着，不借用任何超越的帮助，只是同死去中的那个场景在同一视面中，真厉害。巨物/怪物/鬼魂不再需要诸如理解之类的保证，就是每一个已经死掉的—没有男人、没有女人、没有青年、没有老人，只有每个已经是死掉的“少女”。
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