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.
很一般 没什么惊喜 当博士的演讲沦为说教 也只会拿些烟花把一切都一炸了之
结尾处图图他们唱着葫芦娃来到公园，听到另一队唱着邋遢大王，还有一队唱着黑猫警长，大家相视一笑，原来都是一家人
sorry！虽然是心爱的图图，但是为啥剧情好多都是炒冷饭呢！图图又重新害怕一遍认识一遍牛爷爷？？幼儿园养老院联动蛮有创意，可惜整体叙事毫无看点……（牛爷爷家里真的好漂亮，记得小王子电影里也有这种挂着花花绿绿晶莹剔透可爱的东西的屋子，我就是特别着迷！！
欠图图的电影票可以还了
关心今天的老人，就是关爱明天的自己。我在剧中看到这句标语，于是联想到，一次在上海某处，看到:有困难就找志愿者，有机会就当志愿者。上海这座城市有边界感，温情也恰到好处地包在边界感里。没有永远的弱者，与你同行。 剧中，图图看的动画片是天书奇谭，片尾的主题曲是向经典致敬，看得我心里热乎乎的。如果上美影能出个主题乐园就好了。
这不是之前的剧情吗！？！？？把帅子王子小怪他们加进去，然后再来一次图图和牛爷爷的相识？设想是好的，加进去了关爱老年人元素，对没看过的人来说应该还不错，对情怀党就不怎么友好了
另外如果要改编的话，哆啦A梦其实立了很多成功标杆了（其中也有失败的），大可参考参考，不必出这种电影毁童年经典。
2021.10.1-15:25，与帅帅一同观看。
刷子和土豆已经是好朋友了
最喜欢的动画片带着满满的期待去了 真的很失望这波炒冷饭骗钱我真的呕了
国庆节 回家去看看老人 多关心一下他们
嗷嗷 咚咚咚
尬歌尬舞尬口号 前面的剧情也和动画片里重复 刚开始不认识牛爷爷就离谱
故事大结构是OK的，但没有太多精彩的细节，而恐怖片就是靠细节取胜的，大结构其实就那几种。结尾不错，但也被很多片用过很多次。中间的恐怖桥段很少，属于食之无味弃之可惜的鸡肋电影。
终究不忍心给低分 但是观感确实挺差的 只是有一瞬间会觉得自己回到了小时候…
这都不算是消费情怀了吧，直接消灭情怀。
什么破剧情，感觉8 9十年代的剧情，到最后纤夫的爱出来我真觉得好尴尬啊
为什么要放跟原来一样的情节 台词都不改 整个编剧是不是脑子有病恶心人 我真的是要气死了
嗷 嗷 咚咚咚咚咚咚 哈哈哈 轰隆隆隆隆
意外地不错！（这个Sarah 的表情习惯和说话方式和Hawkeye 里的Kate Bishop 蜜汁相似……为什么13说话特别是演讲时的动作好似在唱rap……）
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