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.
2.里面三角龙浩宝有段说唱，我听出了原唱，艾福杰尼的声音
丧得松散。看的时候在想是不是男导演拍的，果然是，有种隐隐约约的猥琐劲儿。情感或者说是情欲戏份是很难拍好的，年轻导演拍不好就容易猥琐，而且男女不一样，女导参考酒井麻衣。中老年导演拍不好，看起来会有种心有余而力不足的养胃感，比如火口的两人和蛇舌。
勉强给3星吧，看在它让我轻松度过一天国庆假期的份上。
创意不错，感觉比一般的国产电影高级一些。反正四岁的孩子很喜欢，就值了。
爆米花片。为了桑婆和钱老板看的。他们玩得开心，我看得开心，就好。至于这剧情就随意吧。
剧情拉跨，幽默没多少，科幻没什么 什么方面都不突出，10月3日上映的电影，现在就能下载了 也说明真不怎么样
1.不太喜欢因为蠢，硬推剧情的片子。2.国配台词快尬死了，各种低俗的网络用语。3.说唱那段是艾福杰尼
中文也很好玩啊：o妹儿o妹儿，这个儿化就很有灵性了。
片尾曲还不是big energy 的remix 版…
国产还是值得鼓励，就是搞笑一块还要加强。最搞笑的点居然是二哈那里。总之还是蛮可爱的。
带孩子一起进电影院看的第一部电影，对于我来说是一种特殊的美好回忆，再加上确实不错，我给了五星。
除去weg的配乐 happyend的插曲 ..（）
Romantic comedy也好，女性受众也好，都肯定不是问题，写作也算娴熟，唯一的问题是白人女性的那一套啊我看不上我搞的东西啊我搞不出东西了就让全世界陪着倒霉的态度。看了真的觉得很自以为是。桑德拉布洛克同题材片子都一直卖得好就证明用她代入的观众群体一直在吧，一群Karen
爱情喜剧混搭探险寻宝类型题材。——“But don't minimize the people that love your work by calling it shlock. That's not fair to them. ” 某五方听完应该好好反省下。
不太理解为什么现在动画片要起这么长的名字，都要假装系列吗？我甚至片名都没有耐心读完
孩子在电影院笑得很开心，出人意料的好看——当然，我是站在孩子的立场和角度，作为一部给孩子看地电影，已经足够。
小狗竟是反派我是没想到的，算是这种大团圆电影的一大创新，还不错。
疑问一：中方究竟是参与了制作，还是只出了钱？观影感受——感觉心被融化，几个毛茸茸的小家伙实在太可爱，也难怪狗狗会失宠。疑惑二：美国佬到底是怎么做到让一个动画片既搞笑又温情，既有教育意义又催人泪下的？（国庆合家欢强烈推荐此片！）
过期演员一台戏。。。资源怎么这差了，都混的。。。。
剧情我觉得还蛮有意思，就是这个反转来得猝不及防，防不胜防，这个大boss竟然是白颂德(白送的)？除了这个，别的人都好温柔好可爱！
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