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.
只是曾经沧海难为水，看过朱茵版，其他版本再好都不入眼了
蛮好看的有笑有泪，我还是觉得片子给我的"致敬"感觉多些，"消费"感觉少些…可能因为蛮有诚意的吧
紫霞这演员演得好美，男主角长得差点意思，片段有很多经典片的影子
删减应该非常多，达叔遗作。算是真的懂得了大话西游的内核
故事三星，多一星是达叔的。齐天大圣只是个名字，任何人都可以是齐天大圣。有点大话西游，又有点白蛇缘起的感觉，普通人最终也可以因为爱，因为情缘获得强大的精神力量，愿意付出，还是挺感人。
真的已经比刘镇伟后面的那些好太多了，感觉周星驰看了也会喜欢里面的一些东西。
3月7日改分记录：特么的本来是打及格分的，看到这么多无脑打一分无脑尬喷的NT给老子看怒了，怒改满分！艹！
最后，虽然是小成本，但最起码能不能把猴子妆弄好看些，真的太辣眼了!
为啥俺看了这部网大有点泛起泪花呢,是因为“达叔”还是那首“一生所爱” 情理之中意外之外.这部编剧挺花心思的.如果服装道具在做旧些在做糙些的话那就更好了.之前那么多擦边球续写,原导演的“大话3”都磨光老粉的耐性和情怀.至尊宝不用很帅,但紫霞一定要好看.
没啥剧情。即使是吴孟达在里面打酱油的，也没有增色多少。女主还可以，男主，咋不跟小蚯蚓在一起！！
放下偏见，其实还行，有模仿当年的影子，可惜主角颜值太一般了
有致敬经典，也有创新和不同，尤其是一生所爱想起的时候，差点流泪。这对至尊宝和紫霞也好让人羡慕，是爱情应该有的样子，准备二刷。
三星给诚意和剧情，一星给达叔，一星给我觉得分有点低拉拉分…
●2022.02.03
三星半吧，为达叔加半星。ps一看到男主就想到欢乐颂的渣男应勤……
作为免费网大，水准不输许多院线。
心念念的东西，求而不得，现实与梦想的背道，还有那愁中的乐，再续经典之作，为咋天的梦，此时的感受，5星！
356公交车。一星给达叔，一星给新紫霞。坏人死于话多
虽然是网大，但有达叔还得看。注意到马心瑞是在电视剧《还没爱够》里面，当时就觉得这个女二很有女主气质，现在改名叫马瑞，颜值还是够得上的，继朱茵之后演紫霞的人除了她和彭小苒有些感觉，其他就连唐嫣都没有。这里至尊宝人设大改，女追男变男追女可以的，但主角不应该因为梦就说什么不能走，怪异突兀。世界观设定在花果村大闹天宫前五百年，可所有人都知道西天取经？老爹+卖面+阿宝？功夫熊猫？紫霞仙子出场没有慢动作滤镜过度渲染，反而是滑稽的，反套路可以。青霞终于有了形象，紫青双剑合璧不错。但镜头配音等等都很拉，都是彩蛋和致敬，台词却不好。BGM加了戏腔，有点意思。场景还原了，这点也行。悟空扮相丑到一定境界，如果颜值撑不起来千万别用自己的脸，连六小龄童和周星驰都不敢，你那么普通又那么自信。
总体来说值得一看
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