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.
胖子用挂然后再回归转的有点猛，可以在烧烤店那边加个伏笔，比如因为现实“挂”受委屈之类，着墨不要太多……女主亲那一下子有点猛，突兀了，好在结尾收得不错，说不清道不明的好感……
作为游戏改，电影算很成功。如果做为独立电影来看，剧本相对来说就太套路了。或者可以这么说，剧情什么的都是配菜，真人表演吃鸡才是主角，镜头和动作的捕捉上，感觉还原度很高，冲着这个来看，电影很不成。还不错...
能理解游戏玩家的喜爱，但感情线实在是令人尴尬。
虽然觉得这剧情有点不ok的，结局竟然还流下了🐊的💧……
“为了今后永远一起生活下去，我们不能永远待在一起。但是我绝对会回到你身边，而你也要回来。因为我也变得脆弱了。但那这也肯定是，为了跟这份温暖一起活下去而生的脆弱。”
1，爸妈说脸上的小三角形连成了一个星座，好浪漫啊。2，初吻时脸上的亮片，难捱时一跃跳入水中，皆是星星点点，连成一片。3，焦躁、窘迫的情绪贯穿始终，她很难过，但她向她敞开了自己，敞开了十厘米。她抱住了还有一大堆烂事没有处理的她，摁着她脸颊的星座。4，会好起来的吧，最后那段和父亲一起走向墓地的路，和前半段独自在墓前和妈妈说话的片段，那句“乱糟糟的”，都让我好心酸，把对你的想念说给你听，把对你的爱说给你听，把那些你一定能懂的心情说给你听。5，虽然生活乱如麻，但她们真的都好简单哦。哈哈，炮友小哥真的被她拿捏着，说“记得喂鱼”和吹口哨的女主太萌啦。6，风景真好看，可以当旅游宣传片的程度～7，“你说我是哪种人呢？”“我这种人”。
还有瑞典人民怎么也挣扎在贫困线上呀哈哈哈哈哈哈
2后边女主努力还男孩子钱那块真的很感人
在不堪的人生里，
蠢太小时候好可爱～对爱上你让我的世界有了颜色这种设定毫无抵抗力啊，我又只能呜呜呜了
故事普普通通，但感情线还是甜的w
尤其是看带翻译的.......
虽然是网大，但真的很良心。质感和细节设置、搞笑程度完全不输院线电影。肖汉的故事充满着戏剧性，但他的挣扎和坚持却感染着我，这个人物很有魅力。
你经常会在最后一刻以为你是被眷顾的肖汉，其实你只是那个可怜的光头强
“爱你让我想要成为更好的人。” 多么健康的恋爱观啊...感觉日本BL动漫只有变态和纯情两条路线。朋友说，主要是日本人民上限下限都很宽...很有道理了。
对ADHD的症状有了更直观的认识，情绪不稳定的人也许不适合恋爱，但她们可以爱
网大本就应该和网络环境交相辉映，无论内容还是用户。本片发行显然在吃透目标受众上做到了极致，方能用恰切的资源去打大数据之下的口碑战。戏里不惜一切代价反抗电竞背后的资本，戏外本片的出彩则得益于积极同用户背后的大厂力量握手，和斗鱼的高度挂钩、战略合作打开的是一道双领域的缺口：资本在这个时代不会出卖绞死自己的绳子，只出卖自己受刑的伪纪录片。
评分这么高无非就是因为游戏场面吧……但剧情和人物真的是弱爆了
🆘原来日本人说西语和英语都是一个味的，对于学过西语的孩子来说，剧场版里的西班牙真的一点狂野气息都没有！还有这Flamenco跳的还没我西语老师有热情！剧场版的抱胁基本就是“剧情不够，床戏来凑”的状态，感觉后面的魔法男电影版估计也差不多要扑了
『为了我们能永远不变的在一起，我非得有所改变不可』
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