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.
亚裔在是不是都是有钱人？
到底是拍给小孩子看的，还是拍给老孩子看的？
全片最让我出乎意料的是片尾的对白“有证据表明老朝奉是…”“都不重要了”
还是很喜欢的，所以大红狗的原型是拉拉吗？真是可爱。
昏昏欲睡，电视剧节奏，要人物没人物，要故事没故事，就只剩舞指还不错。
还是很喜欢的，所以大红狗的原型是拉拉吗？真是可爱。
just a magic.
动画做得好差 一看就很假 毫无代入感（因为一些个人原因PTSD）笑不出来
爆米花电影，看得很欢乐。红狗特效不真实，但还算可爱。
挺可爱的 画面明亮 就是10岁以上看会觉得有点幼稚（PS：做土豪真好
节奏紧凑，演员表演在位，主创态度认真，最近国产电影市场完全找不到竞争对手了，不给四分过不去。但是抛开这些，剧情因为时长限制还是有一些bug无法解释，如果能是个短剧或许更好。
[视]派拉蒙流媒体，儿童片，个别镜头剪得极短。有个场景有趣，两个小孩驾车迎面遇上警车故作镇定，动物像人，小孩像大人，大人像工具
整个电影从台词到情节到演技极其尴尬……难以直视……但是狗确实很可爱。狗——唯一亮点
这个克里弗变大的脑洞。
哈哈哈哈哈哈哈就为了等我们小啤的Room For you
整个电影从台词到情节到演技极其尴尬……难以直视……但是狗确实很可爱。狗——唯一亮点
合家欢电影。有些衔接不够自然。剧本再好好打磨就好了。
其中有几个片段还挺搞笑的，大狗狗很可爱，小女孩也很可爱，中间还穿插了一个super crazy rich asian 的小男孩。最后的结局也很套路，站出来speak for yourself，这是从小就锻炼公开演讲能力吗？这简直是社恐的噩梦。
还反对校园暴力?
故事的重点实在不该放在那些看似一波三折，实则老套无趣的情节，和看似心灵鸡汤，实则尴尬无比的煽情上。而应该对Emily和Clifford之间的感情做更多的铺垫，以及多拍一些Clifford的搞笑日常趣事才更好吧。不过作为一部轻松愉快的儿童片看着还是很放松的，有些地方确实很好笑，电影院里的孩子们的笑声听着就让人开心。以及Jack Whitehall简直就是个长在我笑点上的男人。
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