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.
有的。
又多了一个知道新一身份的人，这部剧场版也算官宣了
虽然迫于因为变身的原因，没有接吻只是亲了脸颊，但是那段音乐响起，我就开始流眼泪了（老阿姨的微笑），案件是怎样的好像也没多么重要了（不是），这次案件是连环杀人案，本格推理，能看到京都的美丽风景，平次助阵，新一还有吃醋的戏份（吃醋对象长得很像自己哈哈），是我个人很喜欢的一部剧场特别篇了。
927～928（982~985）集。出现很多新朋友和老朋友，都还是那个味哈哈哈；
新兰！！！！！/为什么不kiss呀呜呜呜呜/但是值得！！！
我也闹不清楚这是特别篇还是剧场版。well，年轻真美好。
第一季
少有的全片大部分都是新一出场的剧场版，你们才开始决定交往吗？？不是第一集开始就在交往了吗？？ 台配版很有回忆感，原汁原味。
但更加确定的青梅竹马，心里互相关心理解，终成眷属，小情侣的甜呀，就很平凡，又很期待
Tv6-10，炭治郎找到了无惨；珠世给炭治郎的希望：让鬼变回人的方法是有的！炭治郎和妹妹大战双鬼（箭头+皮球）
变回原型的新一下意识模仿小孩子太可爱了哈哈哈哈哈哈
(๑•ູ॒॒̀•́๑)啦啦啦
大自然中一切讲究生物的平衡，而《鬼灭之刃》正是采用了这一法则。在剧情中除了九柱逐个阵亡之外，作者还将画笔转向了主角炭治郎，使其变为了即鬼舞辻无惨之后新任的鬼王，在人类牺牲巨大代价之后将大家心心向往的主角进行转变
如果去除对名侦探柯南的童年的那些满含热泪的回忆，去除仓木麻衣动画主题曲热泪的回忆的话只有三星，加一星给名侦探柯南，给仓木麻衣，给童年的回忆吧。
救命真的甜翻了！！！新兰党的高光时刻！！终于官宣了！！！现在还记得当时看的时候心跳加速的感觉哈哈哈哈qaq案情设计得也挺巧妙的，刷过好几次了，超棒！
哎她妈的我永远喜欢新兰酱 就可爱....怎么会这么可爱啊……看工藤新一心乱如麻真是太有趣了……
6-10合集。虽然鬼灭好看，但花头精过多了。每次看到以为是新剧集，白高兴一场。
新兰终于亲上了！虽然只是脸。。你敢不敢晚点变回去。。
相比尾灯版的老少皆宜，扎导版的人物更饱满，剧情安排也更合理，但却变成了纯粉丝向电影，对非DC粉并不算友好。
附上看时的心情：啊啊啊啊啊啊！！！！我疯了我疯了！！！！等了这么多年，终于亲上了，好甜好甜好甜！！！！亲上的那一刻我竟然流下了激动的泪水……（2020/7/30看过）
Copyright © 2015-2023 All Rights Reserved
