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.
作为恐怖片迷，我很喜欢这部电影。好过《英雄远征》，远超这两年的漫威电影水平，导演水平不赖。
三星给开头10分钟和结尾10分钟，中间的大杂烩扣掉五星！！六星以悼念逝去的漫威妇联！以上，剩余2星。——看完就脱粉的漫威前粉丝（及xman粉丝）之我看的电影撒的泪都喂了狗
…我到底错过了什么。超级英雄电影从什么时候开始变成恐怖片了？ 关于反派，这位女士，那么喜欢孩子的话现在自己去生一个也来得及。
呃呃啊啊老婆杀了我啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊啊
好喜欢这种妖异迷幻的感觉，不过横向的第三只眼实在是太难看了……
剧情有硬伤，旺达被毁了……旺达幻视还能有第二季吗
看的5GB 720p版本 看完只想说一句 还我旺达我谢谢你
看过的比较好的恐怖片（别 但是真的不错，出乎意料，甚至微微给我整破防了几秒
虽然心脏吓痛了几次 打斗戏不错 剧情还是比较差啊 ！为LGBT打Call
属于是漫威系列前三了，去电影院买最贵的票最好的位置绝对会物超所值的水平，山姆雷米yyds!
英雄之名与人性之自私相互对抗，我们都曾幻想过世界的另一种可能，和所爱之人的相守到头来是任何世界的不可能结局。在所及之地尽力而为是每个人的英雄主义。//时隔很久满意的漫威之作，希望情怀能不必成为炮灰，“I can do this all day”不管是谁的主意，我都谢谢你了，是谁情不自禁在电影院叫出声，是谁恨漫威天天打情怀牌但还是照样买单。漫威二十年希望能创作出一些超出十年的新情怀。
复联大结局后最好的一部英雄片了吧，多元宇宙正式登场，看看后边还能怎么编，不要烂尾成哆啦A梦的时空🚪啊。😂
BPC Regal w Aaron 瓦奥我的脑子爆炸了。好多梦幻联动，好期待下一部看美女姐姐打打杀杀
很好看，恐怖片导演为影片注入了不一样的灵魂. 卷福帅出天际
有些乱七八糟的，而且结尾三只眼太狰狞吓人了 我都快忘了那种脸演过可爱的卷福
4-
比第一部更加富有想像的视觉盛宴，像一拳打进二次元、丧尸版奇异博士等场面都让人印象深刻。不过感觉剧情有点牵强，谁能想到旺达成为反派竟然是因为不顾一切的母爱…
“Stephen, are you happy?”
Are you happy are you happy？ I am very ok
happy Mother's Day you all.
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