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.
我的天啊。。。。前面一个多小时，我强迫自己断断续续看了3次才熬过去，后面自从小说家去了高什么寺那里就开始好看了，前面一大堆废话。。。。。仓田大佬一出场故事瞬间就开始有味道了。。。。前面真心太无聊了。莫非是为了凑时长？其实完全可以拍的再紧凑一点啊。。。。。
既没有惊险刺激的灾难逃亡戏，也没有极具心灵冲击的情感戏，这部让人昏昏欲睡的电影太不值得让娜奥美·沃茨作出牺牲。一星。
真不明白一个人爬到山尖上去，到底有什么意义？
loved it
六几年意大利黑手党会带着内哥一起混？ 我特么都快吐了，电视剧里面2000年的东尼直接搞种族歧视.67年的意大利黑手党居然有内哥了，好莱坞抓紧毁灭吧
时隔多年nivola终于又演了次深井冰，小老大跟爹还挺像的啊。
我们需要一部讲女性冒险题材的电影，ok，just do it
估计没看过《黑道家族》剧集的观众比较难有共鸣，彩蛋非常多，很多剧集里面人物的性格在此有了注脚和解释。Christopher和父亲冥冥之中竟然如此相似，狠烈性格中夹杂着一丝几乎是不合时宜的浪漫和天真，真让人心有戚戚~~
这电影真是又臭又长，题材是不差的，就是节奏拉胯，没有高潮点。
刷完6季黑道家族再来看前传，只能说是情怀了，Uncle Jonior一点搞笑情节都没有，Tony的儿子还真是一个模子刻出来的，最后的音乐绝了，总之是情怀大于剧情的电影，终究扣题了T母说的，He is a Saint
一星给风光，一星给伤心的往事。其实故事很简单，不需要这么长的篇幅
铺垫实在太漫长，剪得又乱配角又多，到最后串起来的时候我都已经对谜底没有兴趣了🚬
前年《绝命毒师》，今年《黑道家族》，后年《广告狂人》？片尾主题曲响起时仿佛回到了新泽西州餐厅的餐桌前。
感觉有很多内容，但是没讲明白
没有看剧集可能Get不到很多，感觉主线不是很明显。
一星给长度，毕竟两小时的莫名其妙比一小时半难办到！导演很努力地在讲故事了，虽然我没听懂，但是看到了苦工。嗐。
在一众慢节奏的日影中本片算快的，最起码开篇有让人往下看的欲望（我对日影真的很宽容了😅）结局是有点虎头蛇尾，但其实从有人借三万有人还三万开始就能感觉到这三万里应该有文章。风pon确实演技杠杠的，一众来打酱油的实力派女优们也表现不俗，七濑妹子的北陆方言软乎乎的，没有本地人味儿那么冲哈。
圣诞节过后的假期看了一部男主角死在圣诞节的电影。。。除此以外不知所云
3.5 看到最后：原来是爱情 又过了五秒：好家伙 的确是鸽子呢（想看原作小说
冲着藤原龙也看的这部悬疑，但演绎得有些故弄玄虚了，书中剧情与书外剧情应该有更加鲜明的区分，才能体现出原著的引人之处。原著主要是利用假亦真时真亦假的特点，但片子书内书外初始就用的都是藤原龙也，也就失去了这种感觉，更像个倒序时空蒙太奇的电影了。这个锅导演得背。还有就是黑帮也没个黑帮样，整体风格缺乏黑色氛围带来的紧张感，其实悬疑也必然要伴随着解开迷雾的压迫感，只有这种迷雾里的冰冷和迷雾外的炙热相结合，才能创造出炸裂的优质悬疑片。
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