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.
Bilibili上的是116分钟版本。恋爱即战争，先坦白的一方便是输家。无机纸，主要原料是镁，拉伸强度很高。
梗片，但没意思。为什么假头套痕迹要那么明显啊？
第一部：辉夜大小姐想让我告白；第二部：辉夜大小姐自己也想告白。
交往翻译关系好
还算勉强合格的翻拍了～因为加入了体育节这个大篇章把石上的部分圆满，然后是改编的部分并不违和，甚至还有点意思～“霸道总裁为了她的娇公捐了一栋楼”，两个人互相为对方掏心掏肺，恋爱头脑战在这一刻升华了。当然2跨3的通病一直存在，以及人物刻画难以全面，比如可有可无的伊井野弥子。ps:为啥给早坂配一个古怪的大叔？
看这个本来也没什么特别高的期待，看得很快乐，在pyzy好帅和好丑之间左右横跳，看这种电影还能心动一定是我的问题😂千年说喜欢会长哪里的那段狠狠地心动了还有日剧跑那段，我怀疑青春相关电影只要日剧跑配个bgm我就会兴奋吧，但其他部分就脚趾抠地，所以才入戏马上就出戏了，感觉原作确实不太适合改电影，还有就是两个主演个人色彩太突出了让我入不了戏（当然这可能是我的问题
总算有人认输了，最后那个气球场景真是出乎意料啊，虽然看得像CGI，但是依然很震撼
2.5星，结局很完美，可是我觉得没上一部好笑啊。
它发生着，在此时，此地，在每个为被链条锁住发声的人身上发生着，在每个对抗不公、暴政、战争的普通人身上发生着。
有没有人告诉韩寒，青春期不是非得死亡才显得疼痛，现在的年轻人有手机有百度，真不会蠢到连含早都不明白是什么意思。还有啊，那种巨轮吃水量特别深，一般人真不会游到深海里去，太刻意了太刻意了
三星半 男主演技太棒了 看的跟着揪心 虽然他很傻很天真
最后十分钟让我忍住想打两星的手←_←
呵呵，还是那句话，赤坂我杀你一千遍也不够！
キミは哈哈哈哈哈哈哈
评错了md，今天去电影院看的是这部，就这玩意儿还能出系列？？？？
真人版还是有点尬，但是这一部的优点是结尾，喜剧就应该这样结尾，这才是大小姐的作风，感谢导演这样拍。
千年好可爱哦！！！and我开始烦佐藤二朗了（
比1好看………真的………梗好多好搞笑推进很快虽然打光和1一样烂，原创结局吊打赤坂。b站翻译跟没翻一样😓
辉夜2在b站的评论和评分都起来了耶✌但是站翻译烂的离谱。。。。。
结局让人想骂编剧了，整体有点不伦不类，如果搞笑就好好搞笑，如果煽情就认真煽情。刘浩存还是很纯真的，但是演技有点不够，或者说用力稍微过猛，给那么多特写不是很有必要。
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