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.
二次反转不错 前2小时20分钟毫无观赏体验 冗长 无趣
怎么说呢，能拍出来就非常不错，能展示这样的过程，能有勇于认错的警察，能够倾听真相的法官，已经胜过无数，期待我们也能
看一半被剧透后真就索然无味了。电影本身不错反转足够，氛围也强。时长过长了
思来想去，我还是觉得它算是一部不完美的好电影，再次感叹豆瓣没有半分评价，这部电影我给7.5分。
越来越敢拍的印度电影，反转很棒。但想表达的点有点多，整体观感不如杰伊比姆。
一锅乱炖，乱炖一锅，为反转而反转，简直到了可笑的地步。密不透风的音乐哦，耳朵和脑仁儿被轰两个多小时。
以戏论戏，并没有拍得很好。后面的连串反转，也过于表面化。至于高分，不言而喻了。
4分。虽然大家都知道印度电影尺度大，很多社会深层问题政治阴暗面都敢呈现出来，跟韩国电影一样，莫不拍手叫好，虽说也知道这些问题还会一直存在，拍完不会有丝毫改变，但看的过程就是很爽啊，我看也一样。但从另一方面来说，这电影时间冗长，很多唱歌片段也有点跳戏，结尾警察反转真的有点为了反转而反转之嫌，一些不好的地方也该是看到的。
1知遇之恩，2无法一起变强的友谊该如何安放。不是剧场版，是两集拼的。最可爱给：嘟嘟嘴喝茶吹吹的三三老师；歪脖子露出金色铃铛耳环的三蓧帅。夏天了，后会有七。
5、政治一盘棋，人人都是棋子！
几个疑问 学生会主席煽动的动机
和室友看得一直wocwoc 反转好多 剧情精彩 又挺有深度 台词写得好好 印度人好敢拍
给国人带来巨大震撼！这就是操控舆论的下场！当法治变成人治，当舆论左右司法，这时，你以为你看到的就是正义吗？PS：看到结尾感觉学生真是最好煽动的群体，青春热血又自以为是，政客们应该挺喜欢的～
52min弃，实在太长了。。。
看到最后，着实有些沉默了！琢磨了一会儿，突然想起这是不是就是古人说的“半部论语治天下”？仁义礼智信，而不是单单的ZZ丛林法则！又或者，搞ZZ本来就是一片黑暗森林？不然为什么那么多昧良心的ZZ玩家
之前看过数次罗翔老师的那条视频“律师为什么为坏人做辩护”，看了这部电影终于理解其含义。一个律师，不仅站在群情激愤的对立面推进程序正义，甚至站在昏庸的法律体系、草菅人命的政治体制、遗害千年的种姓制度的对立面来推进正义。庭辩的精彩程度不如同类的几部神作，但整个电影的思想高度是我们难以望其项背的。
印度电影进化的速度让我从脚底到头顶都异常的焦虑
要先把问题摆上台面，然后才有通过现代文明途径解决的可能性。
巧妙地把各种矛盾融合到了一起，就是BGM有点吵
的确精彩，中国的确拍不出这样的电影，的确也是因为题材加一星，不解决问题而是解决提出问题的人，哪都一样啊🐶
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