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.
女主在20年后那么执着于舞会皇后的时候就没有人告诉她当年她无比向往的舞会皇后现在生活怎样了吗？我是从她醒来后去看那栋房子起就在疑问了
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
还以为是电视剧……头一次看不下去………………
节奏问题很大，人物全无弧光，但确实看的很开心，我称之为女性向屎尿屁喜剧
威尔逊瘦身成功后来抢amy schumer的饭碗了吗？amyschumer那几部喜剧片子就不讨喜。你说我外貌协会也好，我还是想看凯特哈德森安娜法瑞斯这样的金发大妞演喜剧。
成年女主演员瘦了好多啊！哎看到两个朋友一直陪女主长大好感动！
渴望爱，忽略爱，以一个奇幻的方式来讲述无可厚非；但是故事与我无关，因为局限在自我表达的情感之中了。
Are you really serious?
这很有趣，轻松，有点情感，有点明显，但像这样的电影不是这样的 一切都需要。
反讽水平拉满……看起来很爽，真的很烦一些“正确”……
真的很爱看校园美剧！轻松又快乐！女主穿着20年前打算穿的裙子出现的镜头、拿了舞会皇后、毕业典礼的最后集体跳了一次啦啦队的舞，都是完成了她20年前没完成的事情，让人真的很想哭！最后升华主题也很值得思考。（女主演员像瘦身后的adele…以及justin hartley总让我感觉在演这种蠢蠢的花心男哈哈哈哈
还算可爱吧可能是预想的比较垃圾 最大感想女主的爹真好
挺有意思的情节！！最后大团圆～适合一个舒服的沙发观看
10年后以为再也看不到这类片子了。今年居然看到了这部！
真的很好看！rebel瘦了好多，话说她胖了瘦了都一样的好看！真的太喜欢她了！片中的小搭档Yaz 和 Janet 也好帅好美啊！ 电影如果抛开喜剧的外衣，内容其实很有意义也很有鼓励作用，呜呜，里面的歌曲也都是我的青春呀。劝大家不要看豆瓣所谓“人人皆专业影评人”的评价，直接去看原片吧！
改编的挺差的。本子抛弃了原作的深度，主演没太大魅力…不太懂为啥让望月作配…
一看简介就感觉是对标2000年的romcom，美国人真的永远忘不掉高中，逃不开prom。但执行的不错，有些点还是触动到了我。爸爸妈妈的肯定怎么就不算呢，明明这些人才是最重要的。2022届的这批毕业生也塑造的很可爱。
幸好结局女主放弃了成为人气”青少年“，继续学习是正道，去他的雌竞！女主的朋友都好棒T T电影想传达出多元化，从选角和剧情就能看出，还是挺有意思~（好喜欢布里！她的男朋友是维克托欸，服化道在线后更火辣了....）
剧情都很简单且套路，都能猜到，不过本来就是个简单的喜剧，制作感觉还跟十几年前一样，不过看在女主满墙的布兰妮海报和致敬了crzay的面子上多一星吧。
谷阿莫，情节不吸引人，也许胖妹的表演还不错吧。
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