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.
我家那位来自多伦多的男人倒是看的挺开心……
感觉并不是在为drug正名 那种拍摄手法预示了Darby 渴望重生以及生命的转机吧
看预告片以为是偏推理/心理向的，但看着看着觉得进度条撑不住啊……果然揭谜之后的一半就不好看了。而且出场人物寥寥数人，反派率是不是太高了点啊。
这个亚裔姑娘作为主演真的很棒，剧情也挺好的。就是这个片看得我火气直冒。两女三男，一场卡牌，玩的就是心理战术。
65/100 围困于大雪之中的屋舍营造出另类的密室格局，身份猜疑与逃离危机足以在有限空间内完成其“紧绷曲折”的情绪任务。
悬疑度不高，坏人暴露的很顺滑。结局看到姐姐的亚裔颜，还是值
合格的爆米花电影，剧情不复杂，打打杀杀，相互欺骗和斡旋，但足够刺激
被长发小哥蠢哭，你不死谁死，还死得这么草率哈哈哈哈哈哈。至于最后的惨剧完全是女主一手造成的，绝了。但很喜欢女主的厌世脸。
类似这种带悬疑色彩的困兽犹斗电影还是很值得一看的，况且是打拐题材，此时放出资源，也算是应景了。
暴雪山庄模式永远是经典模板，其实挺棒的内容没有水分和各种故弄玄虚的bug，不能说老套就一定不好，整个电影完整且节奏紧凑
挺搞笑的，就是后面剧情拐的太全家欢，有点拉
6.5低了，最近最好的惊悚，直球之下，是女主撑得住场面的演技，坚韧的亚洲女性！
我家那位来自多伦多的男人倒是看的挺开心……
小成本惊悚片，比较套路，但女主智商在线，起钉子那一段确实感觉到疼了。顺便说一句只看脸很有问题，一开始就应该相信黑人大叔的。
小成本逃脱片，BUG不少，暴力血腥还好，大段乌漆嘛黑的画面，看不清个啥，最大看点是亚裔女主刘的斗智斗勇，结尾翻盘完胜。5.6
合格的爆米花电影，剧情不复杂，打打杀杀，相互欺骗和斡旋，但足够刺激
好家伙，旅馆杀人案跟瘾君子的设定一点关系都没有。
很普通，不太好看。抖音剪辑实在是大加分。。。
这个亚裔姑娘作为主演真的很棒，剧情也挺好的。就是这个片看得我火气直冒。两女三男，一场卡牌，玩的就是心理战术。
还可以，结尾挺不错的。过程还行吧，没那么出彩的感觉
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