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.
我看到了什么！ 我居然看到了大超一起抱着路易丝和妈妈的镜头！这是我能不花钱看到的画面吗？ 对比尾灯你真好闻 你真饥渴的烂俗梗 我只想说扎导是神！（片尾火星猎人和不义联盟的彩蛋会看的粉丝高潮吧）
17岁伦敦，大本钟下告白。
大白天，午饭+午休时间看的。。 这就是为什么我一直不想挪地方
难道就是因为亲了那么一下就评分那么高，我还一直在等着舌吻呢。太无聊了这片儿，就是要把粉丝妥妥的等到老了。
啊 最后确认交往啦！！！！而且也猜错凶手了
哎，都九百多集了，才亲到脸颊？好歹是新兰确定恋爱关系的大事件，撒花五颗星。
TV982-985，小兰亲了新一，短信官宣正式交往。
是我才疏学浅，不知道如何夸这个动漫，我是看完了动漫感觉不带劲，顺便把漫画也看了。所以相当于看了两遍，感觉剧情都差不多！是真的好看，蝴蝶忍是真的好看，恋忍也是真的好看。当然，当然碳太郎是真的温柔，全片感觉除了鬼舞惨(是这个名字吧记不太清了，应该是这么写)都不是坏人。
最吓人的是演员们的表情……里面工藤新一就跟个傻子似的
我永远的新兰！！从比柯南小看到比新一大！磕过最长久的最甜的双向cp！
hhh为了看最新剧场版补到的，挺甜，推理就算了（一如既往）
新兰党双箭头不纠结系列，虽然案件只有天狗噱头部分很绚丽，古代的传说故事也很精彩，妻子贤惠，丈夫仗义爱妻，变天狗，救苍生。再次感慨，有效及时的沟通可以避免很多的案件和怨念。
不知道为什么长大以后对新兰真的不感兴趣了。
虽然我是哀酱的头号粉 但是新兰真的yyds！
多年再看，尤其是看过琴兰镇圈文「她骑」后，索然无味了。不过还是希望青山给新兰一个好结局。
磨磨叽叽最后还没亲成 我要是小兰得气死...不过还是好甜🙈
推理破案已经不重要了，新兰CP狂撒狗粮才是看点。
推理部分一年一年的压缩，主线方面 世良 他妈妈有了一点眉目。柯南系列希望能有个完结吧。可能好的作品真得很难收尾，巨人……唉
大白天，午饭+午休时间看的。。 这就是为什么我一直不想挪地方
不能算剧场版，只能说特别篇，撒糖撒的太甜了。
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