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.
中规中矩的美式爱情片，剧情轻松简单，台词直白。
真是够垃圾的 全片最好看的是那个attempt rimming镜头哈哈哈哈
偶尔也做回互联网家明，看点儿土到掉渣的甜腻玛丽苏。
Netflix你真是什么叼毛电影都能拍的出来啊😅
前面2个小时基本都是tv内容，但叙述视角有变可以一看，但是可能对于看过tv的人有些啰嗦吧，后面几分钟的新内容交代了结局，4.1上映去电影院看的总感觉有些亏啊（我不是电影院看的）但总得来说还可以，知道结局了，没看过tv的强烈推荐去补一下tv，真的好看很多细节剧场版没展现出来（虽然当时上映前就知道了是合集类型的，但2个小时出头的电影就几分钟的新内容还是很难让人接受啊...）
虽然有点肥皂 但每个人都很可爱，不说剧情怎么样，百合难得颜值都超高，金发妹子演得很到位啊
一般般一般般，传统温情喜剧片，就是从全异性恋的模式有了拉拉的加入罢了。
看了奇巧计程车剧场版的人！除了福瑞控所有人都是输家！！！（是tv版的粉丝 觉得tv版很精彩 但不妨碍觉得剧场版是蟹
这种题材就像蛋炒饭，总可以炒一炒，因为容易好吃
作家麻麻让我一直跳戏塞隆。打字说得更清楚简直太真实了。女儿约会一个医生的表情太可爱了
封面真好看啊…（流鼻血）
小言改编，虽然西语片尺度是大一点，但感情戏拍起来完全不如东亚细腻啊
西班牙太猛了，这就是soft porn啊
。天哪这玩意居然很有电影质感怎么回事你国快来学.jpg&我好想看他哥睡他。。拍续集吧快
咱就是说欧美那边的玛丽苏比咱还过分呢，2022年了还有人为这种降智剧情贡献票房吗
男主真好看，荷尔蒙爆棚超级A，7分钟在操场上运动+配乐绝了，回去看了好几遍。但是女主跟踪狂魔人设让人迷惑，故事情节真的有些幼稚，门不当户不对但是不代表女主可以看到辛苦工作的妈妈在酒会上当服务员匆忙逃跑吧…
三星只为给帅气的男主，真的是我的菜啊！！！！但是这剧情，这是导演看太多韩剧了？？
这部片子的存在就是为了考验人类为了看帅哥美女可以牺牲多少所谓的剧情和电影艺术，哈哈怕哈哈哈哈哈哈哈哈哈他妈的男主角这谁顶得住啊，好难看但是又想看下去（其实男二也蛮🉑️的）
只有听过广播剧的才晓得这个剧场版倒叙穿插的良苦用心吧。
47/ 怎么说呢 就是烂到不好意思在豆瓣标注看过
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