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.
里面真的好多只有真球迷才懂得梗
无意间刷到，看完了，竟然还不错，值得肯定啊
童年回忆，电影再烂，情怀还在，时隔7年再上映电影，还不错
不足的是多安的原部下的过去背景几乎没有交代，可惜
看灌篮高手长大的孩子们成为了爹妈，掏腰包陪孩子看灌篮羔羊。
低了，应该上7，先看剧再看电影才能了解的更全面～
弥补了春节没去影院看的遗憾。（排片真的好少啊啊啊）我知道结尾一定是主角赢得比赛，我知道它很童幻，但是这都不影响我爱它。童年和弟弟一起坐在电视机前看喜羊羊的时光，是我最珍爱的回忆之一。
其实是很模板化的高达反战片，以小见大的感觉有0080口袋战争的意思，主线又是0079最喜欢的那套正剧风：少年的成长、武器的摧毁，都是极富正能量的意象。可惜这套故事在现代看的确落伍了，时代注定不属于老人。
有热血，有笑料，还有成年人的心酸和对梦想的执着，更有童年时看动画片时角色的原声重现呜呜呜……看得出主创对于篮球有着跟主角们一样的热情，全片充斥着篮球的方方面面和对运动的深情告白。电影并不只是突出喜羊羊或者灰太狼这样单一的主体，团队里的每一个主要角色都有笔墨。喜羊羊的闪电移动和节奏走位，沸羊羊的爆扣，美羊羊的勇敢，懒羊羊的奇袭，暖洋洋的守护，灰太狼的“剑盾”结合……更有意思的是，本片并没有严格意义上的反派，作为对手的虎翼，其与父亲之间的矛盾与释然不仅关照了现实，还让篮球电影中的对手角色更有了人性温情和情感深度，实为一大亮点。影片中，同为父亲的灰太狼和送外卖的虎翼爸爸的深夜冷暖让人印象深刻。总之，《筐出未来》是一部既欢乐有热血还兼具现实教育意义的诚意之作，值得一看。
有的人表面上是喜羊羊，实际上还是洛洛，菠萝吹雪，天羽，雪皇，粗心超人，伽罗
很多镜头不应该出现在动画片里，观感非常奇怪
其实就是0079一集单元剧的扩充，剧情多了许多细节罢了，但我还是蛮喜欢的，毕竟谁不爱看白色恶魔乱杀呢（什，而且这个有德还蛮可爱的，像真实的19岁
给五星好评，感谢儿子自己才有机会被感动一次
刚开始嫌弃的3D假效果，看完原来2022年的2D混合3D的动作戏原来还可以有临场感，是非常有反战意义电影！
看个情怀
有的人表面上是灰太狼，实际上还是智羊羊，王稼祥，陈独秀
给小朋友看的话有四分，给成年人看的话槽点颇多。看得出诚意、细节以很多想要讨论的内容，但是限于时长和题材，深度不足，人物形象单薄。
狠不错！
“对了喜羊羊，你说我们认识多久了啊”
当我时隔多年因再一次看喜羊羊而欢笑时，才发现我仍怀一颗炽热的童心；当我听到他们欢乐的笑声时，才发现喜羊羊原来从未落幕；当我听到旁边的小朋友啜泣的喊出“喜羊羊，加油！”时，才发现原来它从未停止前行。喜羊羊与灰太狼，永远值得！
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