Martin (John Amplas), a young man who looks around 20-years-old, boards a train in Indianapolis, Indiana for New York. At night, he breaks into a sleeping car and sedates a woman with a syringe full of narcotics. She struggles, but he tells her not to struggle or be upset because she wont feel pain. After a few minutes, the woman falls asleep, and Martin has sex with the unconscious woman. Afterwards, he slices her wrists with a razor blade so he can drink her blood. The woman bleeds to death in her sleep.
In the morning, the train stops in Pittsburgh, Pennsylvania where Martin disembarks. He is met by Tata Cuda (Lincoln Maazel) an elderly and hostile old man who claims to be his cousin from the Old World. Together, they travel by another train to the town of Braddock, a dying industrial suburb. They walk to Cuda's large house where he shows Martin his living quarters. Cuda then accuses Martin of being an 84-year-old vampire from his old country. He has taken in Martin because he is family, but tells him, "First I will save your soul. Then I shall destroy you." Martin denies being a vampire and implies that Cuda is merely his uncle rather than his cousin. Cuda then puts up strings of garlic on the doors to his and his granddaughter's room, and then holds up a small cross when Martin approaches him. Martin takes away the cross, and even takes a bite of the garlic mocking these attempts by saying bitterly, "There's no real magic... ever". Cuda tells Martin that he can come and go as he pleases. But he also warns Martin that he will kill him if he kills anyone in Braddock. He also tells Martin to stay away from his granddaughter Christine (Christine Forrest), whom arrives home from her job that evening.
Cuda introduces Christine to Martin, but also warns her to stay away from him. But Christine instead strikes up a friendship with Martin who confides in her about his vampire heritage. When Cuda later confirms Martin's claims to be a vampire, Christine, not surprisingly, refuses to believe either one. She thinks that Cuda and the other members of her family have driven Martin to insanity by making him think that he is a vampire. It is never revealed if Martin really is a vampire, or just a shy and lonely youth with troubled issues. Christine is the only person that Martin gets the courage to talk to. When Christine's boyfriend Arthur (Tom Savini) arrives at the house for dinner, Martin stops talking and backs away despite Arthur's attempt at a conversation. Christine later confides in Martin that she hopes to leave Braddock someday with Arthur, even though Martin points out that Arthur treats her badly and is both verbally and physically abusive towards her.
When Christine sees that Martin won't talk to anyone else, she buys him a phone which he installs in his room. Martin begins to repeatingly call a radio talk show where he describes what it's like to be a vampire. He becomes known on the radio as "the Count" to all the listeners. But the patronizing host (Michael Gornick) thinks he's just crazy.
Martin gets a job at Cuda's grocery store of stocking shelves, hauling boxes around, and even gets to be a delivery boy for some of the customers. One of his customers is a certain Abby Santini (Elyane Nadeau), who becomes taken in with Martin. She is a very friendly young woman who is depressed when she tells Martin that her husband is unfaithful. But Martin still does not have the nerve to talk with her, so she is happy to have someone to confide in with her life problems. Martin phones the radio show host to describe his infatuation with the housewife and senses that she wants to have sex with him. When the radio show host asks Martin if it is a sexual problem that he has involving women criticizing him during sex, Martin replies that he has never had sex with a woman who was awake.
One day, Martin travels by train to outside Braddock to look for victims. At a supermarket, he follows a young woman (Sarah Venable) home to her posh suburban house. He sees the woman's husband (Richard Rubenstein) leave for a long business trip, and Martin decides this would be the right time for more feeding. Martin returns to the house after dark and breaks in through the garage door. But it is Martin who gets the surprise when he bursts into her bedroom to find her in bed with her adulterous lover Lewis (Al Levitsky). After a vicious struggle, Martin jabs both of them with hyprodermic needles with narcotics, and waits for the drugs to take affect. He drags the unconscious body of Lewis from the house to a clump of trees across the street where he kills him by shoving a broken tree branch into his neck and drinks his blood. Martin returns to the house where he has sex with the unconscious woman. But out of compassion and pity, he decides to let her live.
Martin begins to have romantic monochrome visions of his vampire past (real or imagined), where he drained blood from a young woman and was chased through the streets of a nameless European town by a torch-lit mob.
During one Sunday at church, Cuda brings home Father Howard (George A. Romero) who asks him about the possibility of exorcism and demon possession. Father Howard calls upon the elderly Father Zulemans (Clifford Forrest, Jr.) over at Cuda's request. Together, Cuda and Zulemans confront Martin his bedroom and attempt to perform an exorcism on him. At this point, Martin remembers (another real or imaginary flashback), in the Old Country of people trying to perform an exorcism on him, and he flees them. Martin then flees from Cuda and Zuelmas as well. A little later that night, Martin terrorizes Cuda in a children's playground when he puts on a Dracula cape and puts false fangs into his mouth to pretend that he really is a vampire.
One day, Martin finally musters the courage to talk with Mrs. Santini during a routine delivery to her house where he tells her that he's aware of her attempts to seduce him and wants now to have sex with her. After having sex for the first time, Mrs. Santini becomes more depressed for she tells Martin that her husband just left her because she discovered that she cannot bear children, and that her desires towards him are based on sex and nothing else. But Martin wants to stay with her and help her move on with her life. Martin tells the radio show host about his affair with the housewife and that he no longer has the urge to attack other women.
Meanwhile, Arthur meets with Cuda and tells him that he wants Christine to leave town with him so they can get married and start a family. But Christine becomes angry at Cuda when he tells Arthur that insanity runs in their family and he shouldn't consider having children with her. Shortly afterwards, Christine packs up and leaves Braddock for New York with Arthur despite Martin telling her that Arthur is abusive towards her. But her mind is made up. Before leaving, Christine tells Martin that she really has no ill feelings towards him and just wants to make a fresh start with her life. She says goodbye to him and promises to write. But Martin knows that with an abusive and possessive man in Christine's life, she probably won't.
Depressed over losing his one true friend, Martin phones the radio show host and tells him that he's getting "shaky" and wants to go out looking for more victims. That night, Martin travels to a rough crime-ridden area of Pittsburgh and attacks two derelicts in a alley, injecting them with narcotics. He kills one of them by silting the bum's wrist and drinking his blood. Martin is about to kill the second one when a police car shows up and gives chase. Martin narrowly escapes during a long chase on foot which leads from the garbage strew streets and through a local store. Martin runs into an old warehouse where a drug deal is going down. A shootout between the two cops and the three thugs begins where all of them are killed, leaving Martin as the sole survivor who casually walks away from the carnage.
One day, Martin finds Mrs. Santini dead in her bathtub, after she had slit her writs with a razor blade. Martin anonymously calls the police to report the body and leaves. He phones the radio show host one final time to say that he really doesn't need friends or people to talk to for he is his own person. But when Cuda learns about Mrs. Santini's suicide, is mistakenly thinks Martin killed her and made it look like a suicide as he's done before. Cuda walks into Martin's room while he is asleep and kills him by hammering a wooden stake through Martin's heart.
Cuda buries Martin's body in his back garden, while over the closing credits various voices from people are heard talking to the radio show host asking the whereabouts of "the Count".
这部电影主要是探讨日本的社保福利政策，但是故事剧情有点牵强，可惜了。
其实我很好奇，拍电影的时候演员要一脸正经满带情绪的看着对面另一个演员声情并茂的唱歌，会不会觉得尴尬？
Just hold on and keep going.
很骨感的现实问题，在哪里都是，但有什么比生命更重要呢？阿部宽、佐藤健和清原果耶三个人的戏份比较平均，所以整体结构比较散，叙事结构还是比较棒的时间线来回穿插相辅相成。清原果耶演技爆炸，笑颜无敌。
“it can't possibly be that bad”——yes it VERY MUCH CAN
很悲伤的一个故事啊…无论什么样的大政方针，我们面对的依旧是一个个活生生的个人，即便是99%个人都受到了保护，我们依然要听到那1%的人的声音
1202年给我看这个有点过时了。戏剧化的脸谱人物放到大荧幕上显得很尴尬，知道你想表达什么但是在这种夸张的桥段要感同身受真的太难，Alana说自己吃药那段明明那么好的煽情桥段演得灾难，evan坦白的那场家庭戏感觉一口气还没提上来就开始泄洪，妈妈最后的so big/so small唱完好像事情就和解就此结尾看得我满心问号，最致命的是，一部这样题材的电影，我全篇也没有看到成长，所有的角色，一开始是什么样，最后还是什么样。没拍出共鸣的deh，还是略显遗憾吧。
音乐剧people真的很擅长先极端抓马拉满关注度再重新占领道德高地，好处全让你们占了。电影失败一下挺好的，不要觉得那套音乐剧people拯救一切的shit可以随意延伸到所有领域。
低保的世界，也有那么多的故事。发声，鼓励发声，正当的权利理应值得拥有和保护。
这个世界并不是无药可救，消除贫困并不是一句简简单单的口号，而是更多人付出的努力和坚定生活的信念。一点点畏惧和退缩都会带来不幸，我们更要彼此扶持，相互帮助。
很神奇我会唱里面的好几首歌，但是真的舞台没看过，没想到被直击内心和男友抱头痛哭，真的是非常ugly crying for like an hour…他经历过边缘人的高中时期，而我想起了哥哥，实在太细腻，生动，不觉得尬。这周马上去看现场了，很期待。
有些画面舞台不必呈现 有些画面电影不得不呈现 但你要是照搬着舞台的戏剧化程度这就有点unbearable了… 同一个导演能拍出壁花少年来这部里怎么就跟第一次拍电影似的？
很悲伤的一个故事啊…无论什么样的大政方针，我们面对的依旧是一个个活生生的个人，即便是99%个人都受到了保护，我们依然要听到那1%的人的声音
在疫情下看到了这部电影。少数人抗灾能力低下，在灾难下成为了牺牲品。社会资源有限，社会资源调动不足，导致了少部分的牺牲者。孕育出了一些极端情绪，最后只有精神上的自我救赎。很糟糕的现状，人类依然在自然/灾难面前是如此渺小。感慨/同情，然后依然重复过上每一天。
觉得很可惜 一定要把最底层的人逼上绝路才有可能让上层听到这一点点发声 已经有多少人没领到低保而在挣扎中沉没了 佐藤健保护了小干 宁愿自己顶罪被杀 小干在网上发完帖子后绑架了曾受理阿姨申请的科长 两个年轻人为了十年前在地震灾后得到温暖的那段时光付出了自己的人生
3. 只有一起同甘共苦 見證生死過後方才見真情 而這有那部分的人自己才懂 也不需要其他人理解了
有点高开低走，前面烘的稀里哗啦后面down下来了是怎么回事。
如果你生活在太阳照不到的地方，千万不要自己放弃希望
没看过音乐剧（但原声碟倒是听烂了），所以对这次电影改编还是蛮期待的，因为没有对比，觉得电影还是不错的（只是Ben的扮相也太老了吧）。
我多喜欢爱乐之城和马戏之王啊，我多喜欢壁花少年呀，结果整点官摄不香吗？我猜可能是电影太认真得放进生活中了，观众的道德审判可能随之上升，导致没了抽象场景里的可爱甚至是浪漫，男主长的又不是那么讨喜更难分散这种情绪，而且几乎只有Sincerely Me片段有歌舞的感觉，据说还删了重要的歌们，电影里大多唱段是没有场面调度的直接大抒情，观赏性也下降了。
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