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.
看到是《放牛班的春天》的男主，我甩手就是四颗星，其他的都不管了，哈哈哈
还行，就是使劲反转，就女主后面这操作吧，不是女主肯定就领盒饭了，跟江照黎明一样离谱
女主陪刚失恋的闺蜜周末到克罗地亚度假，没想到这却出了岔子。酒吧被人下药，第二天醒来，闺蜜失踪。最后得知被人谋杀溺水而亡。而她也被指控因为发现闺蜜和自己丈夫的私情，而杀害了自己闺蜜。女主试图弄清真相，通过民宿小哥的偷拍视频，还原昨夜房间的事情，随后查到车牌号，由此找到调戏闺蜜的警察，警察一时紧张，与女主拉扯失足送命。原本以为案件告破的女主，却在丈夫的口袋里发现了自己送给见面当天送给闺蜜的项链，一切真相随之大白……
看完“唐唐说电影”剧透来的，下面附上链接：https://b23.tv/BBpYelg。
剧情有些简单，题材不错，帮助别人，改变自己……
导演和女主好评，至少情节露底之前导演还是很稳的。但结构和情节处理还是网大水平。
剧情有反转，但是还是看了个寂寞，太多Bug了。
穆赫兰道女主，保养得真的很不错，裸体身材绝了。风景很美，每一帧截图下来都可以做手机屏保，很美，房间摆设好喜欢。
也不要乱喝酒
三个大孩子都太可爱了。
7分。荒诞却轻松有趣的喜剧，虽然充满套路，但还是能看出一家人的感情。放牛班的老师变成了摩洛哥的超级富豪。女主身材很养眼哦。结尾彩蛋是点睛之笔，小白脸也不容易当啊，哈哈！
对于社交圈比较小的人来说，失去任何一个亲朋好友可能都需要一生才能走出来
Infinite.Storm.2022.BluRay.Pad.1080p.AAC.x265-10bit
尷尬演技但情節不錯.懷念Dubrovnik的美景
结尾有点儿戏，看得出来有拍好悬疑片的野心。唐唐观光
老爷子为了三个孩子独立长大真的是操劳了一辈子
看完发现自己意外喜欢，最普通的故事往往最难拍最难演绎，暴风雪的场景让我也是格外喜欢身临其境，这场救援，救的是你我自己，救的也是我们的生活，即使身在暴风雪中这场雪也格外美丽(往往生活上的风暴带来的伤害并不比这场雪山上的风暴带来的伤害低)
女演员确实老了……
比較簡單直白的一個懸疑故事，沒有太多層邏輯，但出於個人情懷喜歡女主。
轻松幽默，但也真能黑马赛，马赛人民看了会怎么想，当然，马赛在我印象中就是这样。
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