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.
跟《天才眼镜狗》神似，但又低龄些，看着乐就行。
本来只是想来给姜sir贡献票房的，结果喜出望外很好看，电影画面质感好好，毛绒绒的爱死了，各位配音老师都太棒啦！好欢乐！我在电影院里笑的比所有小孩子们都开心。
基本照着漫画分镜拍，好在不失原作气质，选角得也很棒。
比较低龄，三岁半的儿子挺喜欢。对我来说有惊有喜，汪小峰是唯一的成人笑点了，最后那跨种族的突然一吻把我吓了一激灵。
有赠票，因为没有鲁西西合适的场次，带小外甥去看的，所以不得不看了这一部没有评分的电影。竟然意外还不错！有头有尾有伏笔，还有很多中国人才懂的梗，老少皆宜！
很久前的业务观影。译制版的声音有点奇怪，原声又不太适应中国市场。很喜欢大闹上海那一段，有一种“锚定中国市场”的错觉。笑料包袱也都大多围绕“甜甜圈”的外型展开，拒绝了台词里融梗的顽疾，算是比较特别。祝大卖~
你干啥呢，不伦不类的浪费个好题材，好设计。
女生演技蛮拉垮的但是又想了下搁现实中初中女生大概也会是这样的表情。就还是青春物语，整部电影像一场阴郁的蒙蒙细雨。挺还原漫画的，喜欢配乐，好听。一些过场风景画面其实都是漫画分镜。还是很喜欢浅野老师的故事，还没有变成无聊的大人。
还挺有意思，制作很好莱坞，如果人设造成长毛的油饼可能会更中国化
女主年纪太大，男主不会打斗，皮特死得太早，黑妹长得太胖，还能咋办
疼痛的青春，又听到了happy end的插曲，很喜欢。
1. 布拉德皮特也太好笑了吧 因此前半程剧情还能支撑. 相比之下 叫塔图姆的果然都比较 拉垮.
很好看啊 一个动画片你想有什么内涵？？？？
2.里面三角龙浩宝有段说唱，我听出了原唱，艾福杰尼的声音
典型的披着国内国外合作外衣的“国内资本+国外团队”的片子，无论是故事架构、形象设计乃至剧情把控上，都是国外玩的很娴熟的套路，可能国内方面把控最多的是如何植入中国元素（包括一些烂大街的梗）吧。但是仅就内容来说，主要角色形象设计很讨喜，剧情有一定的铺垫和反转，观影全程是比较欢乐的，美中不足是植入了太多中式互联网烂俗的梗，让全片的台词有点油腻…
lol it gets very political and very problematic towards the end.
超好看，超值，特别适合小朋友。国产动画电影越来越牛了！影片后面的小反转，对小朋友们来说足够惊奇了，大人都没想到
4. 全片太多对白 又夹杂了诸多英文梗 换皮泰囧做实.
[视]画面不错，中国元素，生物灭绝环保主题，穿越题材，科学家拿动物做实验，妒忌生恨。前期观感不错，双主角虽然话唠，但不嫌烦，很萌。中期配角暴增，开始变乱，反转生硬，高潮较平
简直就是小孩子的动画，穿越到中国是我没想到的，好有亲切感。
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