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.
我居然嗑起了60岁老伯伯和中学小男生的CP，我真是服了自己这个老六！
这个译名也太糟糕了，看过电影的话怎么忍心翻译成这样😓
在澳大利亚outback呆过，看着好熟悉。
丑萌丑萌的。动物的世界其实和人类一样精彩。
画面有点粗糙，剧情还算有趣。
[cp]#TNABO# 烂番茄收录更新至47评，新鲜度微升至62%；MTC共收录21评，评分维持47/100。《影音俱乐部》评价：“最让人不解的是影片的每个点子对它们彼此来说都显得多余。有数不尽的各国角色、世界，互相矛盾的历史、政治、神话参考。到最后全都草草带过。” http://t.cn/A66TRYyO[/cp]
还是那个巨大而无法弥补的毛病：所有的场景灯光道具服装等等都非常精致，但就是上气不接下气讲不好一个故事。
很喜欢，很燃，很像菜英文那部。小男主好像@流浪人鱼
【4星】联动了两个或许是世界上最难以琢磨的东西：数学、朝韩关系，数字与人心有着相似的深不可测，但也往往显得大道至简，与过去贪婪的自己和解、沉醉于破除生活牢加给自己的桎梏，其中过程的美妙与伟大，无不等同于战胜一道相爱相杀已久的数学难题。
也就比银河补习班好点，数学的概念有，但不够突出。大一统的挣扎+校园黑幕剧情失调。兹山鱼谱是更好的例子。
我是个怪咖，在我的高中不受欢迎，所以我和另外几个怪咖离家出走了，在逃亡过程中遇到了怪咖组织，发现自己在他们中显得很正常。
烂，本质上的青春成长电影，还加上了导演共同民主党的朝韩统一诉求，当然开头对数学的介绍还是很棒的，让人有学习的冲动，但是相比于浮于表面的上面二者，我更喜欢博拉姆的感情线
阿珂哭道：“你快杀，不杀的不是好汉。你快杀我师弟，先……先杀他好了。”吴立身向韦小宝瞧了一眼，心道：“这姑娘对你如此无情无义，你又何必娶她？”韦小宝心中也在怒骂：“臭小娘，为什么先杀我？”
天选之瓜喜提魔杖一根。特效有余而故事单薄，邓布利多和克雷登斯、GG的两场战斗刻画得相当带感，血盟崩坏瞬间的子弹时刻描画淋漓尽致地凸显了AD顶尖法师的战斗意识。开头纽特被一伙人袭击时，我还以为本集要讲护林员与偷猎者的爱恨情仇
邓布利多谜了啥没看到，剧情很谜是真的。弄了这么多年的民主选举又是议员又是董事的，结果最后要靠来自东方神秘力量来选领袖？封建迷信一套套的，巫师个个比麻瓜还无脑
丑东西保护协会冠名播出哈哈哈，say NO to the fxxking zoo
“我醜，你醜，大家都應該這麼醜，醜是美的新潮流” 很可以啊😂
真的一直走神儿看不下去，这不是一个商业片吗，为什么又感觉是个文艺片，慢慢悠悠，又无重点…
剧情稀烂到懒得吐槽…就真的毫无逻辑的走向…虽然觉得老麦很适合格林德沃但看了两部德普演员一下子转换不过来…觉得老麦好慈祥难以捕捉到角色感lol…神奇动物系列强行塞进很多异国（东方）元素 但是观众对于魔法世界还是一头雾水…
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