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.
我在看什么
为人父母看这片，随随便便就会当作全年最佳。
又不夠輕鬆和搞笑
女主和她闺蜜相处的时候还是挺有爱的。这片其实前半部还挺写实的，真就是代孕会遇见的各种问题，但结局给了一个现实里不太可能的圆满…感谢可爱的豆友解答了我的困惑
也许是表现方式的问题 代孕题材带来的不适感在前后两段尤为明显 每个人都在为自己的选择付出代价并陷入无语的自我感动里
题材不错，不仅印度，乌克兰更是整个欧洲的代孕国家，女性商品化，工具化，不得不让人思考这政府是什么玩意。
连续剧拍到第三集了，我是真的累了，也不知道自己为什么要一大早上跑来imax看一群人瞎比唠嗑。全片唯一情感波动老头摸胸，但你要说这个也是糖这个也能磕那大可不必，嗑药鸡也挑食：-）// 对这个系列的感情我只能用一个不恰当的比喻那就是——久病床前无孝子
女主对着出租车司机一口一句
1. 建议邓布利多家族改名凤凰传奇。2.每个被派去刺杀邓布利多的，都是脸色苍白的少年。3.这里面的格林德沃就是比伏地魔还可怕的黑巫师吗？are u kidding me 4.邓布利多纠集起一帮人对抗能看到未来的黑魔头，用多个相同行李箱迷惑对手，这些桥段全都似曾相识。以及，对一个长相酷似斯内普的角色说always，有必要这样吗？ 5.所有人都知道你是在影射谁，但是不是没有必要直接把背景放在德国，就连角色发型都和Hitler一样？ 6.全片充满了毫无必要的慢镜头和毫无必要的台词重复，像极了凑字数的稿子。 7. 神奇动物到底在哪里？邓布利多还有秘密吗？ 8.最后，虽然这两个基老伴的互动在片子毫无美感可言，但任何程度的删减和审查都请去死。
有笑有泪，结局我不太满意，这部电影的题材挺好的，就是拍的流水线。
结尾美国夫妻放弃了打官司
印度口音和音乐总是带给我一些亲切和轻松，就时不时要找一部印度片子看看~~不过确实中规中矩，没有太多的出彩的地方。
我相信 只要有J.K.Rowling活着的一天 魔法世界就不会终结。只是这未免有点低于预期 咱就是说 邓布利多这些个秘密也没多了不起撒
没和神奇12连上没关系，反正我已经忘了12的内容（狗头）。四星推荐是因为受疫情影响，整个电影院只有我一个观众，迟到几分钟，工作人员小姐姐还很贴心地为我重新播放影片。因为爱，孤身一人在电影院我也不怕了（狗头）
代孕真的考验人性 不是每一孕母都能那么幸运
女主漂亮，演技在线。信仰的不同，对待生命的方式不同。印度人佛性乐观。
但是最后孩子的基因父母领养了一个孤儿院的小孩。“生的孩子不是自己的，也可以做父母;孩子不是自己生的，也可以做父母”
我哭得好伤心。
但如果我是女主 会选择把孩子还给他们
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