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.
当某种恶趣味丧失新奇感之后，重复就会变成无厘头式的尴尬。
剧情就没有什么剧情了 装逼装的还可以所以值三颗星
黑兄弟对黑兄弟的简单复仇，搞得这么做作。弑父杀兄，原来根源在家庭暴力，回归成长心理学。刻意地把黑人单拎出来，所谓的政治正确？
看了毒液1之后专程来看毒液2，讲真的毒液真的还蛮可爱的，尤其是那个大舌头舔来舔去的，男主也很给力，延续了第一部的精彩
强行制造一个反派，勉强的爱情故事，连CG都能穿帮，这个是不是最难看的漫威电影了。
两星半吧，安妮丹毒液艾迪一对夫妻一对基，更神奇的是这个人无论怎样排列组合都蛮好嗑的诶，他们好像互相爱着😂从第一部就觉得丹真是个勇敢的好人啊！尖叫出来以后就换了一身Gucci，笑的，黑人发达了就是要穿Gucci！这一部真是食之无味弃之可惜，你不能说很难看，但更说不出来它好看
AMC Sunnyvale 12 | 剧情无聊 演技drama 好几个jump scare给人吓得激灵
广袤的西部，散落的小镇，那时候没有地图导航，是怎么找到那些零散的小镇的
伍迪哈里森演反派总能比较出彩。这可能是我最喜欢的超级英雄。
Gaaaaaayyyyyyyyyyy，ok，GAY.
被原声带吸引来看了电影。偶尔的幽默和plot twist还挺不错的，就是某些时刻会怀疑自己在看歌剧😂
当爽片看还是可以的，不过全黑人的西部片不是很多吧应该，姜戈是昆丁的片子自热没得说，八恶人也还行，这个真的是有点儿过劲儿了。不过好多大特写、服装道具布景都不错。
编剧写的不好，从前边杀蝎子男和截火车到最后结束，整个一高开低走，就实打实给反派写个快枪手不行嘛，这样还能有场巅峰对决，结果给这人写的拔枪不快数数快，还阴着玩偷袭，然后结局反派还是兄弟，也没抵抗，合着全片重头戏就是女人打架和杀杂兵…
网红款卡点，凹造型，扯猫逼神剧，豆瓣评分越来越离谱。就这破片值三星么。
女主角太太太漂亮了 三星都是给她的lol 纯属为脸看下去的 剧情不做过多评价 其实就是用了倒叙的手法换了一个皮 因为要分手所以回顾第一次的经历 btw 男主唱歌还不错 发现他是turning red里男团成员之一的配音哈哈哈 确实很适合👍🏼
2.5 铁打的流水线式奈飞片，看这片冲谁来不用多说哈~
伍迪哈里森演反派总能比较出彩。这可能是我最喜欢的超级英雄。
还是第一次看美国黑人西部片……看了下导演……一言难尽不敢恭维……
每件都是大精品啊
6.5分。我真不是种族歧视，但看黑人总是有点看花眼。。。这片子至少三分之一的时间里我都需要重复思考，这人是谁？是哪一边的？？整个电影里全是黑人牛仔，总觉得违和感爆棚呢。再加上又是老调重弹的西部片，说真的错过了也没什么问题。。。。
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