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.
看片过程中，我好想帮帮女主啊！影片尝试了多种方式尽力展现多动症青春女孩的状态，挺独特的～另外女二好温柔，炮友小哥也很有型。总体观影体验挺好的～
脖子的黑线终于没有了，片尾的吉他配乐不错，但是剧情还是一言难尽，跳舞这个元素太突兀了，另外走纯爱剧情向就不要搞什么野外play了！制作人和音乐家这对更有看头啊，脑部一万字同人文
法克他爹的脑残翻译！
没什么好看的电影了..........都一般垃圾。
没那么精致 但是立意很好 西条高人的壁纸 几年了一直没换过
妈呀，居然好几个地方看哭了....可爱的俩小孩
是个非常需要共情的电影，否则会觉得混乱焦躁。我是后者。
片尾曲好听，doi戳我xp，橙花：新娘的喜悦
gbg风光宣传小糖水片 这设定这几年很火但很扯
父子情略显尴尬但仍能感到无奈，总之为这部游戏网大喝彩！
故事普普通通，但感情线还是甜的w
感觉作者本来没打算把这部画很长，蠢太这人设补得有点强行。作为剧情核心的弗拉门戈舞画得太丑了，没有体现出其魅力。
估计演员们没少花心思学习游戏的建模，去模仿生硬的动作，左右探头、伏地螺旋转、蹲下、换枪等，演得很到位；
就有那麼一瞬間
别说放在网大里了，就是放在院线电影了也是不错的啊。就算情节老套，但是太阳底下无新事，几千年了，大家还不是为父子情感动吗
j骑车去找a的时候减速带不减速被顿的一下子狠狠地戳到我了哈哈哈哈
你是我的药也是港湾，浪漫温暖的爱，终有一天我也会拥有的💖
导演是真的很会描写“底层”草根的生活。找烟屁股抽的时候被喷、忙着diss那些喷子的时候网突然卡了、骂骂咧咧的时候顺手拍死一只蟑螂....没经历过也完全能感同身受，这片真是良心啊，观影体验和电竞的氛围感都非常绝！
自古英雄出少年，这导演年轻有为，视听上相当有招，必须献上膝盖！
“我在最糟糕的时候遇到你，好幸运你会喜欢这样的我”
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