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.
为什么要炒冷饭呢，一大半都是动画片里看过的，因为爱图图，所以给了三星，希望下次别这样了
对我来说最美好的地方就是片头克苏鲁风格的黑章鱼，色彩绚丽诡谲，音乐低沉带感。然而昙花一现，吃章鱼味小丸子可以吓退他们，这什么狗屁逻辑？// 当看到镜头频频给到面无表情的鞋拔子脸大爷，我就知道这位大爷肯定不一般。果然~上一秒唱我的太阳，下一秒唱纤夫的爱，大爷的心路果真够野。可是在上海这么晚了还唱这么大声，会被投诉的啊。// 将儿童的活力放射到养老院，这个想法美好又天真。有这么多儿童么？儿童过于旺盛的行动力不会让老人受伤么？再说有些老人去养老院住不就是想避开家里的小孩吗？……看个动画片让我无聊至极。唯一的安慰是Daniel觉得还行，那就行吧。
秦王绕柱走哈哈哈哈哈哈，话说对付一个dalek就是贴着马桶橛子跑不就好了，反正子弹不转弯😂其实挺好看的，看来cc妥协了，就是看得挺累，是怎么做到时间紧急危急还能见缝插针地大段chat chat chat的😂
一般般吧，妈妈演技还凑合，其他人基本都offline，女儿有点像大妈；
像tv合集版。不过后面真的情怀和主题都到位了
带小朋友来看，太糊弄了，给人家孩子看睡着了……唯一有记忆点的就是那首歌吧：霸王龙，霸王龙，最厉害的霸王龙，嗷嗷嗷……圈钱电影，吃相难看。
加长版的动画片吧，水平也就那样带孩子看个乐，就是被那个“霸王龙，霸王龙，轰隆隆”的歌魔音绕耳了😂
恐怖蜡像馆的女主都演青春期少女的妈妈了。。。。岁月啊。。。
耳朵要炸掉了，小朋友的表情太浮夸了看得好难受
好同情未来的自己还要陪孩子看这种没啥意思的动画……
那个姐姐的片段属实可以，其他的话也就那样吧，感觉不能算惊悚恐怖加了点恶心😬
笑死电影要素过多，致命魔术的双胞胎戏法，走在时代前列的女性电影（女孩子不穿裙子不胆小而且热爱霸王龙），歌颂尊老爱幼的符合新时代特色社会主义的主旋律电影！以上都是我的胡编乱造过度解读！
就是Yaz就这么喜欢doctor有点接受不来，故事也还可以，3星半。有点舍不得13姨，感觉每一任我都不舍得
虽然是动画片 但里面讲了很多道理
要内容没有内容，审美还很差，不是陪小朋友真看不下去
不如第一部好看，前段内容大多都是TV剧里面的剧情，不过是重画了的。
我就不明白了，一部拍给小朋友的电影，一群大人在这儿评价什么，总之我去的影院里的小朋友们笑得很开心。
情怀：6
除了戴立克的exterminate终于“杀”了博士以外，没有什么好看的地方
不要长大多好呀
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