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.
如今大力宣传的反电信诈骗事件，正是防不胜防、涉及经济损失的社会热点问题。这个本子完全可以一本两拍，从国内视角出发结合真实事件，岂不是很好的一种宣传方式嘛？本片最大的优点就是深入诈骗组织中，站在诈骗团伙的角度看群众是怎样陷入圈套的，有很大的预警作用。
看着就生气 感觉是拍的最接近现实的一部关于电信诈骗的电影 代入自己已经气疯了 电信诈骗必须严惩不贷
韩国电影确实比较敢拍，电信诈骗题材值得一拍。
在墙内文化熏陶下 你只能看hong色电影。
还不错，武打多但不够精彩，可以删减，剧情略单薄了些，可以再多层次点
算是2021年最好看的韩影之一了，加上最喜欢的金武烈，本来应该给五星，但是抹黑中国，扣两星
题材是不错的，但是故事稍显混乱了，而且加一个中国的设定也显得多余。
建议玻璃心就不要去打一星了哈，故事不发生在自己身上就不要去双标，从没见过一部电影能把跨国电信诈骗讲的那么清楚的。另外看结尾是要拍第二部，属实期待！
建议玻璃心就不要去打一星了哈，故事不发生在自己身上就不要去双标，从没见过一部电影能把跨国电信诈骗讲的那么清楚的。另外看结尾是要拍第二部，属实期待！
中规中矩，没有特别的亮点，基本没有多余的废话，一切在合理范围内，看看打发时间可以。
立意挺好的，动作戏场面拍得也不错，更期待的智斗文戏却没那么精彩，金武烈演技一贯让人放心，总感觉他参与的电影都不会差
依然是网大的要素，不修边幅的剧名，过气的演员，和粗糙的制作，但我想给他好评
冲着谢苗来的，没想到迷上了女主角，她长得太像张子枫了
都2021年了，韩国人眼里的中国还是如此刻板印象，有点无语。叙事和节奏都有问题，很一般了
剧本内容是在干啥？
有大学生的青年贷就是当大大学生最痛苦的。太可怕了
禁毒一直以来面对着很多的挑战，无论是曾经还是现在
卞约汉真不错啊。
P.S.反派，金武烈欧巴太帅了啊啊啊啊啊！
还不错
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