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.
甜死了甜死了甜死了！画面更精致了，人物也没有大黑线了。情感更细腻了，背景更完整了。蠢太还是那个随时发情的天使大狗狗🐶西班牙元素的加入更是加分！要是有全西语字幕就更好了😂 Es muy bonita
这是多少误入歧途的孩子一生追寻的梦想。ps.你需要一个平底锅。
但高人为了蠢太努力绽放的样子太闪耀了！
没了黑线条👏🏻
还是喜欢能让我获得平静和被爱的感觉的人。每每看到大人的崩溃要让孩子来处理，大人需要孩子给台阶下的桥段都愤懑不已。你们就不能强大一点么，你们多活了那么久，又是面对孩子，就不能强大哪怕一次么！淦！
我太能理解她了
即使生活失意又落魄，肖汉依然能大声喊出“我还没老透”，在游戏世界中坚守着自己的电竞精神，认真对待每一场游戏。希望生活能够像电影一般精彩，每一个平凡人都能找到属于自己的星空。
“巨他妈好相处”这六个字居然可以这么浪漫（炮友小哥未免太帅）
蠢太说想方设法让高人无法离开他，其实根本就是他无法离开高人了吧。
对网大电影的制作水准刮目相看，有些游戏镜头设计得很有想法，就是把后期的钱再给剧本匀匀就好了。
音乐很棒，忽闪的光点和游泳情节都挺不错。但成品不止一般，而是有点烂俗了。
灿烂的sp 虽然老套但是真的很吃这样的颜值剧情画面 自从去年末认识了bmyz之后现在看这部觉得主角之一已经有代入了😍
片尾的点题和bgm让人为之一振，对的人比药更能治愈你。
儿子是个好儿子，爹可能只是个儿子心中的好爹。哪怕亲妈再有钱，男孩果然还是喜欢一个能带自己打游戏的爹。
如果这片子是张艺谋、冯小刚拍的，那铁定2-3星，如果是这导演拍的，4-5星可以给。就当作是吃鸡教程片了。
你经常会在最后一刻以为你是被眷顾的肖汉，其实你只是那个可怜的光头强
【你一出现，我不再是狂躁不安的我，你的出现，拨启了我热烈激动的心】太哭了，止不住的。石智媛，麻烦你也像这样爱一下我。
充斥体育片的俗套情节，像团队不和谐、比赛黑幕，这无可厚非；
西班牙进修踢踏舞之旅，顺便加固了一下感情。
分镜正到爆！！好多都想截图来着！音乐也很好听！因为爱你所以变得脆弱这个好真实呢，制作人的OVA会有么？？十分想看！！话说发情天使吃的那锅饭没事吧哈哈哈哈哈！
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