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.
这部片6.6分绝对太低了，怎么也有7.6以上，给五星是为了拉高一下平均分哈哈。舒服的小品，除了前面台词有点啰嗦，其他都挺好，四星跑不掉。
孙锡久的这个款式的刘海好难看，再也无法直视“三十而立”了，的，电影像是洗奶娃公众号的性转版，但是现实里洗奶娃的故事结局不是这样的。
손석구xi满脸烧酒的样子也太性感了吧啊啊啊啊啊啊啊啊啊啊
打性爱十九禁擦边球，爱情探讨又比较浅显，属于那种两头都不占的本子
能看到两位我喜欢的演员合作爱情电影，已经够让我感激涕零了。但是现在问题来了，怎么才能约到小全总这样的女人和孙锡久这样的男人。🤔🤔
7分。喜欢这种小品文的感觉，后面就有点烂尾了
先性后爱也算幸运了……更恐怖的是错把性爱当成了爱
3.5，为全姐加一分，真的是太灵了，当然这角色对她而言也确实毫无难度，信手拈来罢了
只是Kurt从没有放弃过，即使在杂货店他也每天跑步，每天投掷，最喜欢影片里面的 “命运是给underdog准备的”，Kurt从来就不是靠命运获得的一步一步走上NFL的超级碗的，而是靠他自己从不放弃橄榄球，那是他唯一擅长的事。
2.5吧，故事没啥劲，但……就还是蛮爱看全钟瑞的！特意去搜了下朴宝剑到底长啥样……哈！
当主演，当龙套，也当配角，如此活着才有趣。
挺有意思的，我是真的很喜欢全钟瑞，看了以后发现孙锡久好有魅力！转折有点儿牵强
全钟瑞真的好有生气啊，孙锡久还是比较适合怪怪的角色，电影里的角色太有人味了。剧本就那样吧
演员演技很扎稳。整部电影看的很舒服，家庭球赛场景剧情节奏穿插的很完美。
孙锡久很迷人，但电影确实很一般，有点无聊。
太短了太快了能再长一点就好了，典型的fwb的故事，还是燃烧的女主
我真的很想给一星，完全没有新意的老套路、浪费了演员的演技。话说韩影现在都是丑男当道吗？男主丑的目不忍睹，女主声音难听的不可理喻…两颗星真的很大方了
演员不错 虽然故事俗套了点 但完成度还算可以 轻松愉快又荒诞 男女主之间营造的氛围感意外的感觉好搭 台词也蛮有意思的 一些细节处理也还可以 可惜结局仓促了点😂
非常典型的体育励志片。本以为沙赞跟苏琪搭档会出戏，没想到看到我想哭。带着儿子一起去看的，完全就是因为他喜欢football，没想到自己也沉浸其中。内容上好多地方都是点到为止，而且感情戏有的地方对我来说有点没必要。最喜欢的地方是第一场比赛前zach“写”的信。zach虽然失明，但是一次又一次的否定了别人所谓的不可能，所以kurt也能做到。今天是荷尔蒙喷射的一天。
约炮罗曼史。全中瑞是个宝藏演员！孙锡久还是更适合在平面上看😂
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