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.
这种片子赶紧死透吧，艹。
评分被低估了，那些打低分人总是低估人性的力量。
女主就没想过这可能不是病毒？要是什么特效药呢？？
在奈飞看的，说是2022年最牛科幻不准确。
其实挺应景的 ，战争中没有所谓的绝对正确和绝对错误，这堂现实的公正课里，没有人能给出答案。倒是喜欢这种不撕心裂肺的调子，仔细回味还是有挺多值得说的点。
一般般，感觉女主角一路上就是一根筋，不听队友一定要把罐子送到目的地，结果呢，最后还是挂了，早知这样，何必呢！
剧本稍差 虎头蛇尾老毛病 摄影美术服化道俱佳 评分稍低 劳米的认真劲值4星！
没想象中的那么爽，冰面穿行，虽然比步行快点，但是没有掩体啊。 末日了都，还两派斗争，我还以为要打外星螃蟹呢！
自私的女人 难道欧洲观众没有智商？真是醉了
3星，没想到还可以，除了人物造型有点一般，剧情明快活泼，国产动画剧情水准之上。
给大人看，剧情单薄又刻意，又刻意搞笑夸张，让剧情有些撕裂。
这俩野鸡海归导演懂个锤子的电影。
牛说陪我看场动画片哈哈哈哈哈，我谢谢你我的大宝贝儿❤️
还行吧 真的也就还行吧 可以啦 其他的不怎么指望啦 母爱致上吧
综合：6.8
男主大冤种，不过很帅
最近这样苍凉战争的电影越来越多。
因为劳米·拉佩斯才看的这部片，冰上追逐和对战挺有新意。
给小孩子看，估计还算不错，但是剧情有显得复杂了。
看我的，黑风十八
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