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.
但有我想要的美
我为什么对这种网大抱有希望，全程没有一丝感动，看完更加怀念周星驰了
打着大话西游的名义，看着没那么讨厌就已经是成功了。
2022.02.15于南大科学园创新创业学院
90分钟都撑不满，借壳讲别的故事，容量根本不够，剧情突兀进度条跳跃，插入曲不知所谓，5毛特效还不如删了
女主这颜值给朱茵提鞋都不配。
网大拍成这样相当不错了，女主还有点像高圆圆。
剧本和表演上问题不大，但非要往这个ip上凑肯定会是这个结果
有点意外的好看~比刘镇伟的狗尾续貂强多了~除了达叔，还意外看到了好多星爷电影里的配角~
可以归为大话西游的同人作品，能看出创作者对原版大话的熟悉与喜爱，也演绎出了自己对大话西游的理解。作为一部网大，虽然毛病还是很多，但看下来比不少院线电影还好一点，那种粗劣感反而带来了老港片的感觉。（达叔戏是真的太好了
从头到尾都写着剧组很穷四个字，可是它真的很感人，大概是最喜欢的大话西游同人（确实是可以当作同人电影来看）。
致敬经典，达叔的最后一部作品，虽然就出场10来分钟，但是大话西游的经典不能没有达叔。
同人作品的意义,或是补足漏笔,或是满足幻想.而本片所述的,无疑是用大话故事的果来展现故事的因,剧情本身其实毫无起笔之处,也并不让人觉得那个故事的巨大遗憾会有新的饱满
三点值得看。永远的达叔、不让人生厌的紫霞、能串联《大话西游》两部的某些点。其他，均表现出有心无力，草率了事之感，虽有诚意，但才气和财气不足。
有点不知道说啥，男主太像黄轩了，这以后咋发展呢…同类型的片也真的好多，无厘头看着更无厘头，违和，连周星驰自己的片看着都违和真奇怪
作为网大我说它已超预期。剧情重新解构《大话西游》却将原作基调保留还加入新解释不得不说比刘镇伟做续集好看多了。紫霞仙子虽没朱茵灵气但俏皮感却不输。三星的制作加一星给吴孟达最后达叔还是将欢乐留给我们
一开始以为不好看，但是看完后还不错呀，鼓励一下，网大电影平时都是烂片多，所以很多人没看或者没认真看完就直接一星。可惜了。就是男女主颜值不太行，毕竟星爷的大话西游太经典了，但是这部改编得还行起码比刘镇伟自己拍的大话西游3好看一些，真是讽刺呀。用心打磨剧本，就算小成本也有不错的作品。
故事改编的还是蛮好的。可能刚开始看到新演员有点违和，但后半部分情感还是融入了进去，《一生所爱》响起的时候，恰到好处，瞬间要泪崩。竟然是网剧，没有院线上映，却比某些院线上映蹭IP赚黑心钱的烂片强多了！
对不起我看的山寨版，但不要这么辣眼睛啊，这至尊宝好丑好尬啊，尬死我了啊，卧槽我吐了啊，，，俩不网红脸的灯芯值两星
紫霞的女演员可以。但本片很沉闷，很无聊就是了。
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