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.
哈哈哈哈哈轻松愉悦的傻逼电影，恶搞好莱坞超级英雄真的太好了。
很好笑，恶搞超英，笑点很密集，而且配乐是真的舍得钱啊，都是知名音乐
笑料很足，法国风情，致敬经典，将无厘头演绎到很高的档次
《泡泡剧组》在逃法国版，真的好有梗，从DC串门到漫威，从巴黎圣母院烧到阿汤哥的新片，各种山寨BGM奏起，各种屎尿屁起放，恶搞之余还不忘致敬斯坦李老爷子。
我，Badman——套着蝙蝠的壳，放着星爵的歌，跳过小丑的舞；撩到大超的妹，偷过狼叔的车，抢了凯撒的崽；还顺手阴了阿汤哥，黑了终局之战，炸了圣母院
谁球打得好，谁垃圾话喷得越凶。 球星，教练客串得真多，体育电影拍出新花样了。
不得不说，这部真的很好笑。从DC到漫威，各种恶搞，还有无实物表演，当然更少不了屎尿屁的笑料。而且尺寸的梗是从头到尾贯穿的，编剧很用心了。
三星半 亚当桑德勒这种片子拍了二十来年 没招 就是稳稳当当轻轻松松赚你钱 没人能不爱看～多半星给西班牙男主 太乖了吧！
詹姆斯参与制片拍摄的励志体育片，最大的看点是号召来半个篮坛名宿和现役超新星来扮演自己，还原了在媒体镁光灯的聚焦下商业联盟的残酷真实，媒体能造神亦能弑神，在nba立住一个让人信赖人设能够减少负面言论的冲击，战胜自己的魔障能够帮你走的更远。
恶搞的比较成功。这类电影一般就是离奇的展开，俗套的煽情。只要“有趣”，就能给电影加很多分的。
影片质量也就3星，但是对我来说真的很有梗很好笑。
哈哈哈从头恶搞到尾，浑身是梗，复联配乐都是直接变奏，最励志的是为了拍电影真的把身材也变成了超级英雄同款（阿汤哥招谁惹谁了哈哈哈哈哈妈的！）
不错的法国喜剧电影，哈哈哈！漫威和DC都惊呼“了不起！”
是个人不太感冒的乌龙喜剧，全片高光可能就是山寨复联集结的那两分钟吧
笑死了 惊喜不断哇 感觉比借口公司好看 可能就偏爱恶搞向的
够套路够热血，但剧情简介就一派胡言，他们哪是只有一次机会，明明是一次一次又一次机会，中间还夹杂着半个月特训的魔幻桥段，我一度以为是安西跟樱木为全国大赛奋斗呢。
剧情比较一般，但无奈阵容强大，这样复刻场面看起来就不会尴尬
恶搞和广告植入之鬼才，有几个地方笑得我差点憋过去，我承认很低级但就是能戳到我笑点
这年头是不是流行恶搞超英啊（狂喜）不过珠玉在前（指黑袍）没有超过它的话就很难打动我
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