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.
可以我还满吃这类校园喜剧，工作后不需要花脑也能看的下去，艾美的笑容总是有感染力。
非常套路，但是真的就爱看欧美校园剧。女主苏醒后遇见的那队小伙伴颜值都还不错，这种黑人女孩颜值更值得捧吧
就还可以的爆米花青春电影吧，道理确实很陈词滥调可以我到现在也没有学会。
挺喜歡這部的！故事還是美式校園老掉牙套路，但是女主的特殊經歷給電影加了不少喜劇元素，而且新舊觀念的碰撞也很有意思！好懷念以前哦。
豆瓣6.4 IMDB5.7的片子居然把我看哭了，可能是年纪大了吧
很老套的剧情，很经典的美国校园生活。还可以吧，打发时间看看，女主勇气可嘉。
——當然，這是人家的年輕人哈～～
深深地被击中灵魂深处，我想，人生就是一直痛苦地坚持着活下去，去体会那点点绰绰的爱与美好。阿真，好好活下去，我们都好好活下去
适合周末夜晚，一瞬间回到20年前和朋友一起看青春爱情电影的感觉。很好。
有彩蛋喔～
各种千禧年的回忆啊！有一个点我想不清 就是女主受伤昏迷不就是因为那个黑发的死对头吗？她和那两个女生说了啥 之后在女主腾空翻跟斗的时候那两个女生就把接女主的男生推开了 然后女主就摔了下来 后面回看当时的录像带居然也没发现 我还以为那个黑发女会被抓走
被预告骗来看以为有惊喜，结果老套的剧情还不如以前的美式青春电影
好玩 不过女主心态真好啊，不去计较过去丢失的二十年吗
好逗 这应该是我看过最不一样的校园电影了（对千篇一律的美高电影疲倦了
并不是特别搞笑，但是还挺温情的，很简单的那种电影。
挺喜庆的一个电影，适合过年一起跟朋友看，但是看女主的妆容很奇怪
居然用了ben platt的grow as we go！！！！这是什么梦幻联动！！！ben温柔 的声音一出来，就想哭
一直对Rebel Wilson那种带有扮丑元素的夸张演绎方式接受无能，经常看得尴尬到脚趾抠出三室一厅。电影院那段差点让我冲出影院。
Alicia Silverstone是最大的惊喜
整部电影男、女演员长相很老，
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