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.
故事好看又搞笑，都在一晚上发生很精彩了！这是我欠毛骗团队的第一张电影票。
好看好玩（邵半仙是不是有什么不老丹药，怎么越来越年轻，越来越好看！）
轻松，搞笑，剧情还行，全家可看。后面有点崩，还好有异物志彩蛋让我还有希望
作为网大可以给四星，希望优映更上一层楼，早日出能上院线的片子吧。
惊喜啊！团队惯有的小套路小冲击大幽默各种反转巧合无厘头，两个小时里发挥的淋漓尽致，搞笑-情感-冲击都衔接非常密切，随着剧情波动无尿点。看到每一个演员出来就已经开始笑和感动了，继续加油做下去吧~
剧情还算可以，不突兀有衔接。最爱的就是没有绝对的好人坏人，不强行突出好坏正反
比非常保镖拍的好，剧情编的可以，一环扣一环，就是开头邱天向小智借手机不合理。电影有《疯狂的赛车》内味了。
车到山前必有路，船到桥头自然直。
学不到疯狂系列的精髓，只学了个表皮。一晚上发生的事情，剧情点过于多了
一切自己解决，警察是个什么职业？跟此时的上海一样😎
他俩吵架那段很好，但是感觉还可以更激烈些，吵架道出了我们都是一群普通人，都有懦弱跟自私，但是什么时候都别放弃吧。冬冬致敬李小龙那段，他应该演的很爽，是不是一直想演这种😆😆
一如既往的支持！我觉得吧就按照唐州市打造一个《毛骗》宇宙，就像开心麻花里的西虹市一样。
一栋楼里隔壁左右的邻居，就这么简单一句话，却很难得到回应。
故事还算好玩，不过可能是出于预算的原因，毛骗团队拍的片总是没啥电影质感，作为网大看看还OK。
一切自己解决，警察是个什么职业？跟此时的上海一样😎
毛骗团队新作，就是那种可看可不看的，其实可以不看的那种电影。
作为一部网大来说还不错，挺工整的，七分。
作为一部网络电影，绝对是非常优秀的，也算是不负众望了，几方人马混战，但是没有让人感觉很乱，故事节奏也把握的比较不错，笑点该有还有，虽然包哥不敢说“牛逼”了，但这部电影依然牛逼。
这片子也能7.1这是粉丝的力量保护么？真醉了，太乱了
故事普通但下了功夫，即使剧本逻辑上有缺失，可惜制作素质依旧还是网大水准。
Copyright © 2015-2023 All Rights Reserved
