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.
前半段剧情还行 后面节奏整的太拖沓了 而且也不是小时候看的大耳朵图图了 唉
图图的家，街景，超市画面精致了好多多了很多细节
过于敷衍，除了最后二十分钟养老院表演，其他全是原动画片里的情节，骗钱
好同情未来的自己还要陪孩子看这种没啥意思的动画……
现在才开始博士和Yaz的感情线不觉得晚了吗，而且前面也没铺垫，看得我只有尴尬，感受不到cp感。
冷饭热炒，牛爷爷不容易。
真的很烂 真的很烂 真的真的很烂
9.24港汇sfc点映 各位主创还有牛犇爷爷也来了
還不錯啦 是我喜歡的 Time Loop 題材
合着我这是看了《地狱恶魔》第一季的第一季和最后一集？
动画的几集放一起整一个电影，我记得图图明明是先认识牛爷爷才去的幼儿园的。
画质：5
给童年打五星吧，但是好像有些内容是动画片里的qaq
这部每个剧情我几乎都能回忆出具体的出处。跳舞也确实尬到我了。适合低龄的小孩看。一些台词真的无厘头，很降智。其中有一个镜头是刷子/小美拉图图的裤子，想把图图拉住，玩这种稍微露骨的梗。（有点蜡笔小新那味了）
这年头自己抄自己算抄袭吗？看看隔壁美食狂想曲，明明能拍出好电影的为什么非要去炒冷饭啊？胡图图！（恨铁不成钢脸）
情怀依旧，但是剧情尬的我脚趾头扣出一个翻斗幼儿园
冷饭热炒，牛爷爷不容易。
三星平均分，给回忆。
真的没什么诚意这部片子，就是把之前的动画片组合剪辑一下放进去，真的是三岁以下适用……确实还是童年里那个图图，一点没变
删除养老院和霸王龙小分队的故事线，完全就是三集动画剧情搬到到大荧幕上，虽说是子供向作品，但是制作组真是有够会偷懒的！小美和刷子的配音也换了，失去了我童年的味道
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